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com or 206-323-7101.

Jinkx Monsoon
(aka Jerick Hoffer)
performs at Julia’s every Friday and in
Homo for the Holidays Dec 14–24
at Odd Fellows West Hall

Ahamefule
J. Oluo,

The Lineup

Town Hall’s artist in residence,
performs music and comedy in
Now I’m Fine Dec 9

Interviews with Three Artists, Two Philanthropists, and One
Person Who’s a Little Bit of Both

Wes Hurley
directed Waxie Moon in
Fallen Jewel, which
premiered at SLGFF
in October

You’re a full-time artist now, but what day jobs
have you had?
I worked for years as an independent apartment cleaner.
I put myself through Cornish College of the Arts by working as the janitor. I’d wake up at around 4:30, go clean the
school, go to all my classes, go to rehearsal, go home, and
then do it all again. But anyone who had to work for their
education will tell you it’s rewarding because you take
nothing for granted. Every year I got to stay in school felt
like a privilege. I was a straight-A student.

How many hours a week do you work on art stuff—
performing, rehearsing, ﬁnding gigs?
On average, maybe 75 hours. I spend all of my time
doing that in hopes of a future where maybe I don’t have
to. But I know that’s a lie! It’s 90 percent administrative
work: sending e-mails, the stuff every job entails. It’s like
you’re a company and trying to run that company.

Is being a full-time performer glamorous?
It’s like they say about the economy—1 percent of
performers get to have that glamorous lifestyle, and
the rest of us are biting and scratching and clawing our
way through. You can be at the 5th Avenue one week,
and the next week singing at a charity event at a crab
shack in West Seattle. Every time you think you’ve made
your big break, it’s just one step forward. But every step
forward is a step worth taking.

So much work for so little money—why do you
keep doing it?
I’ve wanted to be a multidisciplinary artist since I was
6 years old. But I didn’t have any direction—my family
didn’t have the luxury of “direction.” We were superpoor, lived in a car for brief periods. I just knew I wanted
to be onstage for the rest of my life. Performing and
creating things are so tied in to my self-esteem that if I
ever stopped, I don’t know what would happen.

What projects should philanthropists donate to?
If you invest in a project that has a social or political
message you really agree with, you’re not only investing in art and those people’s careers, you’re investing in
social outreach and social work.

Is there anything you’d like to say, as a working
artist, to arts philanthropists?
There’s a serious lack of communication between the
people who make the art and the people who fund the art.
I’ve been doing this all my life, and I don’t know anyone
who works on that aspect. I don’t even know anyone’s
name who works on that aspect. If you get a different answer from someone, would you call me up and let me know
how they’re doing that? Because I would like to know!

What’s one of the big misconceptions about your
line of work?
That it’s easy. Maybe because of karaoke or whatever.
And being a gender illusionist is more than putting on
a wig and makeup. When it looks like I’m just wearing
underwear, I’m actually wearing six layers of clothes!
You’re on the next season of RuPaul’s Drag Race.
What’s the grand prize if you win?
The winner of the race receives $100,000, a lifetime
supply of makeup, and the headlining spot on the Absolut Vodka Drag Race Tour. But Drag Race queens beneﬁt
the most from the national exposure. Q

4

A&P: SEATTLE ART & PERFORMANCE

Does that pay the bills?
No! It gets ﬁgured out, but I make very small amounts.

You’ve used Kickstarter to fund projects, right?
I just used it for the ﬁrst time to help pay for the huge
show I’m doing at Town Hall on December 9. It was a
bizarre experience, because I don’t want my day-to-day
to be about money—part of my admittedly smug idea of
artistic integrity. But the moment it hit its goal, I felt this
amazing feeling that my peers wanted to see this project
come to life. Q

Is the life of a working artist glamorous?
No. It is exciting in a sense—I grew up in a part of
the Soviet Union that was abandoned by everybody, in
the far east, and there was no art-making. The artistic
community seemed as exotic and far-fetched as astronauts or people who go to the jungle to hunt things. So
I still catch myself thinking, I’m hanging out with a circus
performer and an amazing singer and a painter, and I get
excited.
How do the artists you know get by?
Everybody’s different, supporting themselves differently—teaching, working as a real-estate agent. You have
to ﬁnd ways to fundraise, to get your work out there. It’s
rough because you still need a lot of energy to actually
create. Everybody’s just trying to ﬁgure out their own
way to survive and continue to make art. And hopefully
save some for retirement.
Are you saving for retirement?
Not at all! I still have credit-card debt from my last
movie, and I have to spend more money on submission
fees for festivals or whatever.
How do you fund ﬁlm projects?
I’m really bad at asking for money. There’s a part of
me that feels guilty for asking. There are people starving, so why would you give a hundred grand to make a
movie? Other artists would hate, hate, hate me for saying
it, but artists are not the most important people on the
planet. I would make movies no matter what, even if I
were homeless, even if I’m on my deathbed, but I don’t
expect the world to revolve around me. Q

These interviews have been condensed.

Glenn Kawasaki,

Ruth Keating Lockwood,
philanthropist, drummer

philanthropist, geneticist,
director of four biotech
companies

Shari Behnke,
philanthropist

Questions by Brendan Kiley
Portraits by Kelly O

How did you get started as an arts philanthropist?
Kent [Stowell] and Francia [Russell] were my friends
for 10 years before I discovered they ran Paciﬁc Northwest Ballet. I would talk with them on my morning
walks with my Welsh corgi. Kent and Francia asked me
to join the PNB board, and I entered the looking glass
of professional dance in Seattle. Dancers are remarkable
athletes and quick learners. I continue to be in awe of
and inspired by dance.
You and your foundation give to so many organizations: PNB, Velocity, On the Boards, Zoe | Juniper,
science foundations. How do you decide?
The most important factor is how much money is
needed for a speciﬁc purpose. Experienced arts organizations will usually ask to meet to discuss a project or a program. These asks are very speciﬁc. My decisions are also
inﬂuenced by personal interactions with ofﬁcers and artists, audience size, and my like/dislike of the performances. Being Asian has swayed me a little toward supporting
Asian-related events. My girlfriend also encourages me to
contribute to causes of her liking. No real rules.
How much do you think you’ve given?
Overall, including donations to the foundation, I have
gifted $8 million since 2000. Parenthetically, I had only
$4,000 in savings and not much else in 1988. I have been
extremely lucky.
What are some misconceptions about art donors?
Most people believe other causes have higher priorities. Saving lives is probably the best reason to contribute. I don’t have the resources to make a signiﬁcant
difference in a large matter such as education. My businesses are involved with health, so I feel I am making (or
at least trying to make) a positive difference in medicine.
My level of gifts, however, can make a signiﬁcant difference to local arts organizations. Q

How did you get started in philanthropy?
I moved here in 2009 with my family, but in New York
I helped start the Willie Mae Rock Camp for Girls, a music
and mentoring program. The thing that gets me ﬁred up
is social change through art.

You’ve just started the New Foundation Seattle.
We are acquiring work for national museums from artists living and working here now. We’re also giving money
to the UW School of Art. When you have a strong school
of art, you have a good working community of artists.

How come?
Part of it was personal, playing out at a time when
there were very few women onstage compared to men,
especially as a drummer. What got me hooked on Willie
Mae was teaching girls to play drums and seeing how
transformative that experience can be. They’d come
into it shy and reserved, just kinda tapping on the drum.
By the end of the week, they’re loud! They’re screaming on the stage, and they carry that with them into
their schools and families. I found Reel Grrls and started
working there, and I joined the board of On the Boards
last fall. Reel Grrls also has a rock ’n’ roll vibe—you don’t
know everything about this camera, but we’re giving you
support and telling you to make a movie. [Young people]
get sold a lot of stuff by adult marketers, but their view is
underrepresented.

You’re selling some of your collection to fund it?
I had bought, 10 years ago, a Louise Bourgeois sculpture, and it went up in value quite a bit, so we sold it to
Christie’s in New York. It was a small-edition piece called
Spider Home. It sold for more than $500,000. That was
seed money.

How do you feel about the word “philanthropist”?
Words like “philanthropy” and “empowerment”
have gotten a bad rap for the way they’re used, but the
concept behind them is still powerful. It’s empowering
to give your time and your expertise. It can be a powerful experience for people of any income level. When you
talk about philanthropy, it’s easy to get into this rareﬁed
air of Oh, I sit on the board of the opera and I contribute all this money, but it’s really about the experience
of sitting in a room and having this transformative,
shared experience together. To me, it’s nothing short of
miraculous. Q

Is it a fraught decision to part with an artwork?
Age has something to do with it. I turned 60, my son
had a son, my mom died—all of those things have made
me more aware of mortality and moving on. So yes, but
also no. Because the reality of ending life might be more
in my forefront than in yours.
The term “philanthropist” can be loaded.
It’s taken me a while to accept that word. There’s this
idea of This person is giving a million, but they have 10
billion—so what? But I also know a lot of people who
have money and don’t give any. It’s better to help the
community than not.
Is the life of an arts philanthropist glamorous?
Glamour? It’s an overblown fantasy. It’s very, very difﬁcult to give money away because you always question: Is
this the right way? Is this the right person? Will this make
a difference? And saying no is always hard. The other
side is that everybody who calls you wants something.
Knowing that when the phone rings, it’s somebody who
wants money… that’s not glamorous.
You just had a wedding anniversary with your husband, John Behnke—did you celebrate?
We went to First Thursday and debated about whether to buy a piece of art. Q
WINTER 2012

5

6

A&P: SEATTLE ART & PERFORMANCE

How to Make a Great Film
for Only $9,000
Five Frames from Zach Weintraub’s
The International Sign for Choking
by Charles Mudede
Olympia-based ﬁlmmaker
Zach Weintraub’s second
ﬁlm was shot entirely in
Argentina. Half of the
$9,000 budget went to
plane tickets, and the other
half went to food and housing (the actors and crew
were paid nothing). The
mayor of the small town
of Colón, Hugo Marso,
gave Weintraub vouchers
for the town’s hotels and
restaurants in exchange
for the town getting a
beautiful role in the ﬁlm.
This scene, which has gorgeous
curtains, owes its existence to
the vouchers that the mayor
gave to Weintraub. While using
the vouchers for a free lunch at
Akaroa, a restaurant in the heart
of Colón, Weintraub decided to
shoot a scene as he ate. Why not?
The waitress got to play herself,
and Weintraub added another
beautiful moment to his ﬁlm for
nothing.

Now You Can Die Happy,

Charles Norris

C

harles Norris’s face is a sympathy magnet. Round, open, and
sincere, it draws attention the
moment he walks—or shufﬂes
or bounds—onto a stage. His recent performance in Seattle Public Theater’s production of Superior Donuts as Franco, the
plucky doughnut-shop assistant who gets
into some Chicago-style trouble with loNot That We
cal bookies, was a shining example. In one
Would Want You vivid scene, Franco challenged the shop
owner, Arthur (an ex-hippie stuck in a rut
To! We’re Just
of apathy), to a “racist test” of naming 10
Saying You’re
black poets. Norris sharpened the mostly
Amazing!
playful exchange with a hint of wounded
seriousness, adding tension to every laugh
line. “I’m impressed!” he crowed midway through the test. “You
just answered the four black poets who might be in your crossword puzzle!” Norris graduated from Cornish in 2007 and hasn’t
tackled any canonical show-off roles (yet)—no Hamlets or Stanley Kowalskis. But he’s already become one of those actors who
inspire relief by simply showing up. No matter what happens up
there, he’s always worth watching. Q

Two Fireplaces You Wish You Were
Sitting in Front of Right Now
by Bethany Jean Clement

The wallpaper in the story
is not wallpaper in reality. In
reality, it’s fabric Weintraub
bought in Buenos Aires’s
fabric district, called Once, for
$100 and hung on the walls.
The illusion of wallpaper (the
ability to replace one piece of
fabric with another in no time)
meant one room could play
many rooms.

The ﬁlm tells the story of two
Americans who ﬁrst meet in
Buenos Aires, of a relationship
that may or may not become
something. The house Weintraub
rented for his crew and actors,
in the Belgrano district, is also
the house that’s rented by the
characters in the movie. The
fancy dress Anna is putting on is
owned by the woman playing her,
Sophia Takal, and was picked by
the director before leaving the
United States.

This room, piano, and window
are owned by the man playing
the piano, Roger Delahaye, a citizen of Buenos Aires. He, like the
other actors in the ﬁlm, received
no payment for his performance.

KELLY O

The Fireside Room
900 Madison Street
The tiles surrounding the namesake of
the Sorrento’s Fireside Room came from
the Rookwood Pottery Company of
Cincinnati, founded by Maria Longworth
Nichols Storer in 1880. The capacious
hearth and surround are a digniﬁed,
deep forest green; around the ﬁrebox
runs a bas-relief border of grapes, plums,
and other assorted fruit, while above, a
tranquil scene of a garden with a domed
pavilion, untroubled by people, is depicted in the Arts and Crafts style.
Ripe fruit and an undrizzly vista:
When the ﬁreplace was installed upon
the Sorrento’s opening in 1909, these
signiﬁed the lap of luxury in wintertime
Seattle. Still, now, to sit in front of this
ﬁreplace is to sit in that lap. The two
leather wingback chairs there are marked
with an “S” in the spot where you might
rest your head while dozing a moment;
they’re each almost broad enough for
two, their arms very slightly, genteelly

worn. A large lozenge of leather ottoman awaits your feet. The ﬁre itself is
gas, with realistic enough fake logs; the
ﬂames are a bit thin on the starboard
side at the moment, but all is still cozily
warm and ﬂickering bright. For best
results, order an amber-colored drink.

The Arctic Club
700 Third Avenue
The only hotel ﬁreplace in the city that
begins to compare to that at the Sorrento may be found in the lobby of the
Arctic Club, straight ahead from the
marble-ﬂoored entry. The tile here is
sedately unornamented, and the massive
oak mantel is marked with only shallowly carved ionic columns, a subtle seal,
and the discoloration of the overenthusiastic ﬁres or unopened dampers of the
past. Two deep-red velvet two-seater
couches ﬂank the ﬁreplace, waiting to
be sunk into, and the marvelously accented barkeep at the lobby’s Polar Bar
is at the ready.

WINTER 2012

7

ARCHITECTURE

Anatomy of a Building by Charles Mudede
What It Is: The Bullitt Center, scheduled to open April 2013
Where It Is: 15th and Madison, the corner once occupied by C.C. Attle’s, a bear bar
How Much It Cost: $18.5 million
Huge solar panels cover the roof.
Time magazine recently stated that
this building, designed by the local
ﬁrm Miller Hull Partnership, will be
completely off the power grid,
but that’s not precisely true. During
the winter months, the building will
turn to the grid for power, but on
the sunny days of summer, the solar
panels will actually generate more
energy than the building needs and
so will return surplus power to the
grid.

Back here is a remarkable
staircase. It’s enclosed in
glass, and so the higher the
ﬂoor, the better the view. Elevators continually add to the
energy costs of a building;
stairs, once built, do not. But
people naturally prefer not
to use their own energy to
get around. They’d rather exploit the energy of something
else—a car, a rickshaw, an
elevator. How do you solve
this conﬂict? Make the convenience of using something
else’s energy lower than
the reward of expending
your own. In the Bullitt, that
reward is the spectacular
view from within the glassenclosed staircase.

The building’s water will
be supplied entirely by the
clouds. The rainwater will
be collected from the roof,
led down to a 52,000-gallon
cistern in the basement, and
ﬁltered, passed under UV
light, and treated with a touch
of chlorine in the process.

Tenants will include the building’s
owner, the Bullitt Foundation,
founded in 1952 by the late
Dorothy S. Bullitt to protect
the natural environment of the
Paciﬁc Northwest. Bullitt was a
pioneer in broadcast journalism
and the ﬁrst woman in the country to own a TV station—King
Broadcasting Company. Denis
Hayes is the current president
and CEO of the foundation and
an environmentalist with a history
that stretches back to the Carter
administration. He headed the
Solar Energy Research Institute
until Reagan slashed a huge
chunk of its funding and effectively ﬁred him. Hayes’s parting
words to Reagan and his kind,
as recorded in the Seattle Times:
“[You are] dull gray men in
dull gray suits in dull gray
ofﬁces thinking dull gray
thoughts and writing dull gray
reports.”

COURTESY MILLER HULL PARTNERSHIP

Human waste will be stored in the
basement, treated for viruses and
bacteria, transformed into fertilizer,
and transported to forests far
from the city.

The spirit of the Bullitt Center will not leave
this little park (McGilvra Place) untouched. For one, the road that separates
the building from McGilvra will be closed
and transformed into a part of the park,
which, when the renovation is completed,
will offer parking for bikes, tables for
games, benches for seating, and a rain
garden. It will be a nest of paradise.

How Much Do Novelists Make?
Jonathan Evison Opens His Wallet
by Paul Constant
The amount that Jonathan Evison
made for his ﬁrst eight books—six
novels, one memoir, and one story collection—which he says “were all unpublished,
and will mercifully remain unpublished.”

0

$

The advance that Soft
Skull Press gave Evison
for his ninth book, and ﬁrst published novel,
All About Lulu. The money was “paid out in
two payments, half on signing, and half on
publication.”

4,500

$

Approximately how much Evison made a week at his day job
as a landscaper. He worked 25 hours a week—
“just enough to get by”—while writing and
editing Lulu.

300

$

8

A&P: SEATTLE ART & PERFORMANCE

Amount Soft Skull paid to send Evison
on tour in support of Lulu. Instead,
Evison managed his tour like a punk rock
band, couch-surﬁng his way through a tour
of nine western cities, bringing two friends
along with him. “I paid for every meal, every
beer, and the rare hotel, all out of pocket,”
Evison says, “for all of us.”

0

$

The amount
$
of money Evito $
son spent on beer and Jell-O shots, which he
would bring to readings and share with the
audience and bookstore staff. “The tour pretty much wiped out the advance,” he admits.

100

150

The royalties Evison
earned during the ﬁrst
three years of Lulu’s sales. “I negotiated great

40,000

$

royalty rates,” he explains,
“including foreign sales and
the like.” He still gets one
or two small royalty checks
a year. In 2012, they totaled
about $3,000.

15,000

$

Film rights for All About
Lulu, earned over a threeyear period. (The book has still not been
successfully adapted to ﬁlm.)
The advance Evison
received from Algonquin Books for his third published novel, The
Revised Fundamentals of Caregiving. It’s the
most he’s made on a single book by far. How

75,000

$

did he get there? Evison’s advice
for aspiring novelists: “Maintain
low ﬁnancial expectations. Don’t
necessarily go for the money
right out of the gate.” Big advances might be tempting, but
more important is ﬁnding “a
publisher that will really champion you and help you build an
audience,” and publishers like
that are often not the same publishers that can write big paychecks up front.
It could be years after your ﬁrst book before
you’re able to make a living at it. “In short,”
Evison concludes, “don’t quit your day job.”

If You Have Never Bought a Piece of
Original Art, You Are Doing Life Wrong
by Jen Graves

S

eattle is a terrible place to sell art.
Dealers and artists will all, universally, tell you this. Nobody buys art
here. Galleries barely stay open, and then
they don’t, and then artists leave town just
as they’re beginning to become interesting,
and everybody asks, “What happened?” even
though nobody has ever bought any art here.
This has to change. This is a manifesto.
I’m talking to you. You are an average Seattle person. You are not wealthy. You are the
99 percent.
The last time you avoided an art gallery
out of intimidation or slunk out of one feeling
out of your depth? That was the ﬁnal time.
Right here, right now—this is the end of your
lifelong career of never once having bought a
piece of original art.
I don’t care what you buy. I don’t care how
much it costs. But you will buy something. We
are going to change this city right now.
Let’s begin with the following basic understanding: You are not buying art to make anyone rich. Approximately point-zero-zero-one
percent of artists ever make as much money
over the span of their entire careers as a Microsoft or Amazon employee in a single year.
If you are concerned that your art purchasing will create a class of brats, then your
concern ought to be placed elsewhere in your
consumption cycle.
But you would be correct if you assumed
that what we’re really talking about is money.
And talking about money in art is no easier
than talking about money anywhere else.
An episode I witnessed recently brought
it all together.
A man in a suit was kneeling on a carpeted
ﬂoor. This was on VIP night at the inaugural
Seattle Affordable Art Fair
in November, and he was at
the booth for Portland gallery Fourteen30 Contemporary. The man was trying to ﬁgure out how much
the art cost. But the label
that told him how much for
that lovably odd oblong red
painting on the wall was
waaaaaaaaay down at ﬂoor
level. The “Affordable” part
of the Affordable Art Fair
includes rules such as You must list your
prices on the walls with the art—but Fourteen30 doesn’t use wall labels at its actual
location in Portland because they distract
from looking at the art itself. “So labels on
the ﬂoor, six-point font: That was my solution,” said Fourteen30 owner Jeanine Jablonski. “Labels are visually distracting—people
immediately go to text. I know I do. I would
rather have a conversation with someone.
But people are shy.”
People are shy. Many of them, even if they
are dressed-up VIPs, would rather kneel on
the ﬂoor than ask the elegant woman near

the desk who made something or how much
it is. Money is embarrassing. Money in art,
even more so. It is a truth in the art world
that you are less likely to see labels on the
walls the higher the cost of the artworks. If
you think of artworks as “ascending” from
the artist’s studio to the gallery and ﬁnally
to the museum, well, the museum is the place
where you will never, ever, ever see a price
tag at all. The art there is so legitimized that
it has been removed from the market entirely. You can know almost anything else about
an artwork at a museum, but if you were to
ask how much it cost, you would be met either with blank stares—the guards and reception clerks certainly don’t know—or with
administration-level squirming.

I

once wrote, somewhere on the internet,
that I never wrote a negative review as
a way of deterring people from actually
seeing the art themselves, to which someone
responded, “Then you completely misunderstand your role to give me consumer reports.”
But art has a double economy. One economy
is nearly free. The other—where you actually
buy—is perceived to be basically impossible
to enter unless you’re a Rockefeller. Yes, the
art that’s sold for millions and makes headlines for its auction records, etc., etc., no, you
cannot afford that art. But who cares? The
world is jammed with 99 percent art.
This is you. You want to own something
that means something to you. The pleasure
of an original thing is that, like anything you
truly love, it attaches itself to the original
part of you and builds it like a muscle, makes
you feel more like you. It also connects you
to someone else, the artist—but you don’t have to
tend that relationship, it’s
just there, simple, pure.
You never have to meet the
artist if you don’t want to,
but if you want to, you can
ask the artist all about this
thing you now have, and
you will ﬁnd that the artist
also wants to hear what you
see in it, and eventually you
will both agree that neither
of you really penetrates what the thing fully
is, which is maybe why both of you love it so
much. Let’s say you have a couple more criteria: Maybe you would prefer art by someone
local, someone who does not have a leg up in
the 1 percent game of the international art
world. And: You do not have money to burn.
Here’s what you should know about what
is affordable—a vital fact: Every gallery
wants to help you buy something if you love
it. (They are not in this for the money because what money?) Pay what you can every
month, with zero interest. This is common.
This is how it works. A work of art that

I BOUGHT TH IS TH ING AND I LOVE IT

I ﬁrst saw Baso Fibonacci’s art on
the streets around town: murals,
wheat-pasted prints. During
SIFF this spring, I went to Cafe
Kanape off Broadway a lot, and
Baso was having a show there of
his wonderful wild-animal paintings: raccoon, grizzly bear, lynx,
red panda, porcupine. When I
contacted him, the owl painting
I liked was already sold—but
he offered to paint me my own
owl. I took him up on it. The
painting is oil enamel on glass
(28 by 23 inches, $500), and this
grave owl now watches over my
home. GILLIAN ANDERSON

I found this beguiling thing at Ghost
Gallery. I saw it and could not leave
without it. Could not stop looking at it.
What is it? A sculpture? Something else?
It’s hard-plastic ribbons of various widths
pinned to a board. From across the room,
it looks 2-D, until you move in any direction: When your perspective changes, it
changes. It’s called Loopholes. It’s 12.5 by
12.5 inches. It was $100. According to the
back, the artist is Adriana Phillips. I love
you, Adriana Phillips, whoever you are.
CHRISTOPHER FRIZZELLE

This photograph hangs on my kitchen
wall. I bought it at Photo Center
Northwest for $100, but I don’t
remember the photographer or
the title. The main color is red, as if
depicting the lurid dream of the halfempty ketchup bottle. True, nothing
much is happening in the photo, but
it never fails to hold my attention for
a moment or two. Whenever I enter
the kitchen, the image makes me
aware not only of its own presence
but the presence of all the other
objects around me. What kind of
dreams are the spoons, forks, bowls,
fridge, and washer having? And all of
these sleeping objects, like this picture on the wall, are mine. All mine.
CHARLES MUDEDE

Every gallery
wants to help you
buy something if
you love it. Pay
what you can
every month, with
zero interest.

I came across Nathan Lambdin’s 5/13—To and From at the opening of Ghost Gallery in April 2010.
Lambdin fashioned a contraption that held a few dozen markers, pressed them to the paper, and
let the ink soak in on one side. He then dragged them across the paper and did the same on the
other side, creating a similar, but not identical, pattern. I bought it for $300, and it’s about 36
inches wide. I love how this piece is all about the process of making it, and the meaning is left to
whatever each individual viewer brings to it. AARON HUFFMAN

Collectors all over are hooked on
Terry Turrell, one of Seattle’s great
folk artists. He cobbles together
whatever discarded Americana is at
hand, and he carves and paints wood
figurines that are unusually alive
for being so stiff. At the Hop, this
2012 piece made of wood, tin, wire,
oil, and enamel at Grover/Thurston
Gallery—standing 8 inches high—is
on the low end of his price range at
$1,600. groverthurston.com

Things You Could
Buy Right Now
by Jen Graves

This drawing stole my heart at
Platform Gallery in November. It’s
a tiny perfect world in pencil, by
New York artist Michael Schall,
for $700. It’s called Wooden Rink
(2012) and the image measures
6.25 by 5 inches (on a 15-by-17-inch
paper). platformgallery.com
Cullom Gallery is a hidden wonderland
in the International District. This foldedand-cut-paper piece is an ideal example:
By Tokyo-based artist Ryohei Tanaka,
it’s called The Horizontals, it was made
in 2010, it measures 11.25 by 5.75 inches,
and it costs $275. cullomgallery.com

Seattle artist Julie Alpert’s November
show at Gallery4Culture featured rows
of haunting watercolors the artist calls
“negative positive pattern paintings.”
Each one depicts a room decorated
with ghost furniture, ghost vacuums,
ghost computers, ghost fireplaces.
Somewhere deep in your mind, you
know these rooms. Office is $350 and
10.5 by 9.5 inches. juliealpert.com
Congolese photographer Baudouin
Mouanda has been making images
of the postcolonial sapeurs, or African
dandies, in Brazzaville—members of
the Société des Ambianceurs et des
Personnes Élégantes, or Society of
Tastemakers and Elegant People—since
the 1990s, and the pictures are sensational (obviously). They’re 24 by 36
inches, at M.I.A. Gallery, and the price
for each varies according to its place
in the edition (each edition is 10 plus 2
artist proofs), ranging from $2,000 to
$3,000. m-i-a-gallery.com

Buying art by someone famous
isn’t for everybody, but it’s far from
impossible. This gorgeous, 14-by11-inch gelatin silver print by one
of the early masters of photography, Minor White, is called Mobil
Station, San Francisco (1949), and
it’s $7,500 at G. Gibson Gallery.
ggibsongallery.com

Be adventurous: Buy a video. (No, it
does not include a monitor.) This one,
Being Part Of… (2:20 minutes, edition
of 3), is a split-screen take on real-life
rehearsals for a military parade. One side
focuses on the individual faces. The other
side depicts faceless men disappearing
into the crowd but becoming part of a
larger whole. It’s an inventive portrait of
masculinity and also a river of abstract
patterns, and it’s by rising Seattle artist
Rodrigo Valenzuela—you should probably get in on his work early. It’s $1,000
at PUNCH Gallery. rodrigovalenzuela.com

costs $1,200 looks like it’s out of reach; I know I can’t spend
that right now. But $100 a month for a year? How much was
that last night of going out? How much was that sweater, dinner, cab ride? And you are paying how much in rent? Want a
work of art enough and you will have it. It’s not about affordability. It’s about knowing that this is possible, and knowing
you can ask to make it work. Knowing that dealers and artists
want you to ask to make it work. The good ones don’t care how
much money you have. They care how much love you have.
Another reason to buy art: because a city cannot live on
project managers and engineers alone. Because buying art is
a way to notify artists that their presence is wanted. (Because
it is most likely not going to pay their bills.) Do you know how
many artists have considered stopping making art or leaving
this place they love, but stayed and kept on just because of one
or two or three encouraging art sales? It doesn’t take much.
Dealers in Seattle are likewise not fat cats. Greg Kucera,

the most established contemporary dealer, is no Larry Gagosian. (Gagosian is the mob boss of New York art, with locations
spread across the globe.) Kucera boycotted the Affordable Art
Fair in large part because he objected to the name. Basically,
he was offended. After 30 years of making art affordable and
accessible in Seattle, who’s this outﬁt coming in and pretending they’re presenting something new? (The Affordable Art
Fair is a franchise out of the UK.) And screw those guys for focusing on price rather than quality. The lack of qualitative focus was apparent in the fair’s selection of certain out-of-town
galleries that ﬁlled their booths with ﬂoor-to-ceiling displays
of truly dismal art displayed like magnets on a gift shop carousel—$10 would have been too much to pay for that stuff. Some
Seattle dealers refused to put on the walls the signs provided
by the fair’s organizers that barked “Under a thousand dollars!” It just felt too bargain-basement.
As Kucera insisted, We already have affordable art in Seat-

tle. There is something undigniﬁed about having to point that
out after all these years.
“I just checked my own inventory, and we have work under
$500 by Shimomura, Newport, Daws, Calderon, Fitch, Livingston, Beecher, Dzama, Webb,” Kucera said in an e-mail. “At
under $1,000, it includes work by just about everyone else.”
We’re talking Andy Warhol to Kara Walker, Alice Wheeler to
Whiting Tennis and Victoria Haven.
Dirk Park, who started up the respected Aqua Art Miami
held at Art Basel Miami Beach every December, told me at
the Affordable Art Fair—where he was representing his own
small new gallery in Seattle, Prole Drift, and where he ended
up selling not one single piece of art but felt grateful that after three days of standing in the booth, he made contacts for
his artists—that he’s personally never bought anything more
than $1,000. “And if I go over $500, Jaq [Chartier, his wife and
a painter] and I have to agree. I do other things to sustain
WINTER 2012

13

Critics and Prices
I
by Jen Graves

t’s one of the conventions of art criticism: Thou shalt not talk about art in
terms of money. There are good reasons for this, one being that the price of
a work of art can be genuinely irrelevant
information. There is a stark dividing line
between looking at art (which is almost
always either free or affordable and imparts its own kind of experiential value)
and possessing art.
Theater and music writers list how
much a performance will cost, while art
critics list prices for admission, not possession. When you buy a museum ticket,
your eyes are renting art you can’t buy—
the art in museums is neither for sale nor
could you likely afford it if it were. At
art galleries, admission is free, but the
difference from museums is that you have
the option to buy. Still, even when I write
about a gallery show, I don’t tell you how
much pieces cost. It’s just a standard of the
profession: Art critics don’t list art prices.

ourselves ﬁnancially,” he said. “This is a
project.”
Meanwhile, Park was selling hot-colored
portraits of rock stars like Stevie Nicks
and Ann and Nancy Wilson at prices that
surpassed anything he’d ever paid personally (but still under the fair’s bar of $10,000).
That’s because some people can pay those
amounts, and a single one of those sales can
ﬁnance a whole new series of works.

A

HENRY
ART
GALLERY
THROUGH JANUARY 27

HENRYART.ORG

Image: Jeffry Mitchell. Work-in-progress. 2012. Photo: Merith Bennett

14

A&P: SEATTLE ART & PERFORMANCE

ffordable art really is everywhere. If
for your ﬁrst foray into art-buying
you really can’t spend more than
$300, here are a few galleries at the very lowest price range to try: Bherd, Blindfold, Cullom, Davidson, Gallery4Culture, Ghost, Prole
Drift, Punch, SOIL, Roq La Rue, Season,
True Love, Vermillion. (There also are artistrun online sales sites, like Seattle Catalog
at www.seacat.co, and low-cost local art mail
subscriptions you can buy, like LxWxH.) But
with even a modest payment plan, you owe
it to yourself to get to Foster/White, G. Gibson, Grover/Thurston, James Harris, Greg
Kucera, Linda Hodges, Platform, Traver—
and to consider the higher-priced works also
available at places like Davidson, Prole Drift,
Roq La Rue, and Season.
If you want to buy but are truly intimidated
by the idea of committing to a payment plan,
consider starting with prints. A print is a limited-edition object created and controlled by
an artist and meant to be a print. In case the
terminology is new to you, a print is completely different than a poster. A poster is a photograph of something else—usually a painting—reproduced in an unlimited edition by a
business entity that has nothing to do with the
artist. Buying a poster is not buying art.
The home of antique prints and maps in
Seattle is Davidson; another great prints
place is Cullom. In my living room, I have two
prints from Davidson. One is a hand-colored
etching by Isaac Robert Cruikshank ($85).
It was an illustration for a satire published
in 1822 called My Cousin in the Army. A
skinny, bug-eyed soldier with pants up by his
nipples holds a sword aloft over a trio of rich
old biddies and their rapt pets in a horribletchotchke parlor. Cruikshank engraved the
plate with the image on it. He hand-colored
a prototype. Then production workers handinked the object in my house.
My other print is called Shrimps! (plainly
the best title for a work of art, ever; $60). The

But would it be a bad thing for art and
artists if the line between looking and possessing were less stark? What about for audiences? As art critics, do we implicitly support a system built on inequity when we
leave out information that would point to
the fact that most people can only afford
to vicariously experience what certain
people can take home and live with? Or
is even entertaining that thought inviting
more trouble than it’s worth? (Capitalism
begins unraveling in the mind…)
A few months ago, noticing that an
artist was showing powerful works that
were also extraordinarily affordable, I
broke my silence and mentioned at the
end of a piece of writing that, by the way,
those great pieces only cost $300. Did I
violate a rule I should have followed?
Should The Stranger (and A&P) change
our policy and list prices with art reviews?
Would it mean anything, or change anything, if we did? We’re listing the prices
of art along with our art coverage in this
issue of A&P, just as an experiment, to see
how we feel about it. And you? Tell us
what you think in the comments to this
story online at seattleaandp.com. Q

image comes from an oil painting (to me, an
amusingly terrible one, but one held by the
National Gallery in London) by a great printmaker, 18th-century Englishman William
Hogarth—a buxom peasant girl balancing
a platter of shrimps on her head, wearing a
toothy smile and an expression of such delight,
it suggests lobotomy. In my print, she looks
just as in the painting, but with her left nipple
exposed like a tiny bomb in the image. It’s
hilarious. But who made the joke? An actual
Hogarth print would cost more than $60, and
the engraving is dated 1782, when Hogarth
died in 1764. The story is that Hogarth made
the oil sketch with the nipple, but his widow
commissioned a print of it from printmakerto-the-king Francesco Bartolozzi. The plate is
Bartolozzi. The nipple joke is Hogarth.
Davidson happens to be one of Kucera’s
local favorites. “I buy stuff from Sam Davidson”—Davidson Galleries’ owner—“all the
time for a few hundred bucks. And many things
that I bought from Scott’s gallery [Lawrimore
Project] were less than $1,000, but spread out
over the duration of his gallery, each small sale
was welcome. Truly, it doesn’t take that much
to keep a gallery here in business.”
Richard Thurston co-owns Grover/Thurston Gallery, on the Pioneer Square circuit.
Fancy, right? But a Seattle dealer years ago
(Mia Gallery, not open anymore) let him buy
Terry Turrell’s folk sculptures on incredibly
modest payment plans. Today, Grover/Thurston represents Turrell, a Seattle artist, and
they’re happy to negotiate individual payment plans with anyone who can’t imagine
not living with one of Turrell’s transformations of wreckage into totems. They understand falling in love with a piece of art, needing to have it, not having the cash.
“I’ll work with you,” Susan Grover, Thurston’s co-owner says quietly, leaning over
the counter one afternoon and talking to a
woman whose birthday it was, who wanted a
Turrell painting that she couldn’t afford right
then. The woman, based in Fremont, was an
artist herself. She didn’t have money to burn.
If that woman decides to buy, the gallery
will take half and the artist the other half. This
is the standard setup, the beneﬁt to any artist of being “represented” by a gallery. One of
the best ways to whittle down what you want
is to troll the “artists” sections of the websites of galleries. That’s the gallery’s “stable.”
They might have inventory from those artists
even if it isn’t on display now. Ask.
Ask. It’s time. Q

CLASSICAL

The Seattle Youth Symphony
continues its 70th Anniversary
Season with two can’t-miss

Nobody Has a Neutral Reaction

winter programs.

Tickets: $10-$40

A Late-Night Performance of
Pierrot Lunaire in Benaroya’s Lobby

I

Reserve your seats today!

www.syso.org
206.362.2300

By Jen Graves

n the history of music, the rumble reviewer wrote, “There were other composiin the jungle of Paris in 1913 was tions, also said to be musical, associated with
the uproarious premiere of The it on the program” (emphasis mine). More
Rite of Spring, with music by Igor critical response from New York: “To many
Stravinsky and dance by Vaslav Nijinsky, the music is an indelicate sort of intolerable
which has become a fetish object whose spirit ugliness, lacking in the ﬁrst elements that
has departed it. The music is performed, re- make music. To others it was the evangel of
corded, and soundtracked so regularly that it a new art, tidings of great joy.”
is now both familiar and revered, the subject
Stravinsky called Pierrot “the solar
of scholarly conferences such as the recent plexus as well as the mind of 20th-century
one at the University of North Carolina— music.” But when WNYC broadcast the ﬁrst
“Reassessing the Rite”—written about by recording of it years later, Mayor Fiorello La
Guardia hated it so much,
Alex Ross in the New
he called in and had it takYorker, who sums up con[untitled]: Pierrot Lunaire
temporary opinion that it
en off the air.
Fri Feb 15 at Benaroya Hall
was not so much the muUnderneath all the
seattlesymphony.org
sic of Stravinsky but the
drama is the continuo
“raw stomp of Nijinsky’s
of Pierrot’s lasting inchoreography” that was “the main cause of ﬂuence. It has inspired Stravinsky, Ravel,
the bedlam.” “Still,” Ross writes, “the Rite Boulez, Björk. Its innovative instrumental
remains incomparably vital.” Maybe not so lineup—the ﬁrst chamber ensemble to mix
incomparably. The year before the premiere strings and woodwinds with piano—became
of the Rite, a piece by Arnold Schoenberg the basis of new-music groups and so popucalled Pierrot Lunaire drew the line of mod- lar that it’s referred to simply as “the Pierrot
ernism even more starkly—and Pierrot has ensemble.” It continues to generate new
never graduated into acceptance. Nobody has interpretations, most recently Pierrot Luna neutral reaction to the
aire: The Butch Dandy,
eccentric Pierrot. Seattle
a German ﬁlm version
with a transgender
Symphony is featuring
bent (in post-production,
it in a new series of latenight lobby concerts of
IMDb states).
unfamiliar works—more
Schoenberg wrote it at
on this in a moment—in
the height of his expresFebruary.
sionist period, before he
invented the 12-tone sysPierrot is the seething,
tem but had ventured far
expressionistic
melointo atonality, or the lack
drama of the mad wanderings of a moonstruck
of a key. Pierrot came
Pierrot, a version of the
three years after Erwarcharacter from the Italtung, the already pretty
ian commedia dell’arte
wild 30-minute mad scene
tradition. It’s a male
Seattle Opera presented
role sung by a woman,
in 2009. And some say
the part calling for a
Pierrot takes atonality to
SHANA CLEVELAND
soprano. “Black giganits limit, pointing out that
tic butterﬂies killed the SCHOENBERG His Pierrot
Schoenberg wrote only a
shining sun,” he-and-she Lunaire is a seething expressionistic
single piece between 1912
sings, in a cycle of poems melodrama. It “disrupted families”
and 1920, having traveled
with titles including “Be- and “severed lifelong friendships.”
so far into the abyss.
heading,” “Vulgarity,”
Because Schoenberg
“A Faded Laundress,” and “O Ancient Scent was a numerologist and Pierrot was his Opus
from Fabled Times.” But it’s not singing 21, he adapted “thrice-seven” of the 50 poems
exactly. Schoenberg invented a style called from Albert Giraud’s 1884 Pierrot Lunaire
Sprechstimme, or sing-speaking, which the cycle. He littered the piece with seven-note
ﬁrst American singer to tackle the piece de- motifs. The ensemble with conductor is seven
scribed as “something between a croon and people.
a moan.”
His instructions? That the musicians per“The most ear-splitting combination of form with a “light, ironical, satirical tone.”
tones that ever desecrated the walls of a Ber- The singer should not “interpret.” All of
lin concert hall,” one critic wrote at the Berlin which makes for an uncanny 40 minutes or so.
world premiere on October 16, 1912. There
As mentioned, February’s Pierrot concert
was whistling and at least one person laugh- is the continuation of Seattle Symphony’s new
ing and jeering. Yet another witness declared series of late-night concerts in Benaroya’s lobit “an unqualiﬁed success.”
by. The ﬁrst, in October, sold out, and it was
It tore New York down the middle when it great. The musicians were all on the ﬂoor of
arrived nine years later, at the (wonderfully the lobby, and the audience wandered at will
named) Klaw Theatre. It “disrupted families, between different ﬂoors to sample different
severed lifelong friendships, incited critics to acoustics, stretched out on pillows, lined the
unbrotherly remarks about one another, and stairs, perched on stools sipping drinks. This
ﬁlled whole pages in the Sunday music sec- is your new symphony, courtesy of new music
tions of the newspapers,” Lawrence Gilman director Ludovic Morlot and new executive diwrote. The New York Times’ morning-after rector Simon Woods. It breathes! Q

A world premiere opera in one act
presented by SYSO and the Seattle
Opera. Music by Eric Banks ~ Libretto by Irene Keliher
Tickets at seattleopera.org/OurEarth

TITO BEVERIDGE

FOUNDER AND MASTER DISTILLER

ROSCOE

DISTILLERY DOG

WINTER 2012

15

A Community Conversation Series: The Intersection of Race, Sexuality, Identity and Culture
through the Lens of James Baldwin. In connection with the exhibit, Bearing Witness
from Another Place: James Baldwin in Turkey, Photographs by Sedat Pakay, NAAM
launches an engaging and exploratory Speaker Series. For Black History Month,
acclaimed local author and educator, Nancy Rawles, presents, Race and Sexuality:
Two Sides of a Double-Edged Coin.

The Opera, Elvis, and That
Which Changes Everything
In art, as in life, love doesn’t pay the bills.

F

ifty years ago, for the Seattle World’s Fair,
the old Civic Auditorium in what is now
the Seattle Center was redesigned as an opera
house. The ﬁrst production there, in June of 1962,
was Verdi’s Aida, which conductor Milton Katims
called the “grandest of grand operas.” Aida is a

It costs a lot of money
to mount an opera.
Last season’s Fidelio cost
about $2 million.
transportation and personal and political history
and people being mistaken for what they’re not
and being imprisoned by history and by law and
having to do a job you may be reluctant to do and
getting saved by a girl.

I

t costs a lot of money to stage an opera. No
opera anymore ever pays for itself by ticket
sales. But they also didn’t have to when opera
started.
When what we now think of as opera began in
Italy in the late 16th century, it was an art form
supported by aristocrats, people who sort of kept
artists on retainer to create things for them privately—to be displayed in their homes or churches,
to be performed in their private chambers. When

TI
E
E
L
L
PE
N
A

public opera
houses
started
springing up in the
mid-17th century, they
were still mostly funded by rich aristocrats who
wanted less to entertain the masses than to advertise their own civic goodness. In the late 18th and
19th centuries, as the increasingly wealthy middle
classes built public opera houses, the ﬁnancial basis of opera shifted gradually from an aristocratic
patronage model to a for-proﬁt business model,
i.e., you had to make money from it. This era saw
the rise of the impresario, a man who commissioned, produced, and hoped to make a killing off
of opera. Sometimes this business model worked,
but sometimes it didn’t. When it didn’t, composers were dumped or felt their hands were tied and
wrote listless, tepid work; opera houses went bust.
(Or, as in the case of bad-boy Wagner, resorted to
subterfuge to wrest money from the claws of his
troubled, heart-smitten patron, Ludwig II; another story for another time, alas.)
You can’t get away with that nowadays. Both
composers and opera companies have to ﬁnd
ways to materially support their art. It costs a lot
of money to mount an opera. According to Kelly
Tweeddale, Seattle Opera’s super-smart executive
director, Fidelio cost about $2 million to mount,

L

Rocco, the guy who sings this, is addressing his
daughter, Marzelline, and Fidelio, the guy (who is
actually a girl in drag; a story for another time,
alas) she hopes to marry. Rocco wants his daughter to be happy. He also knows that love alone
won’t feed or clothe or shelter you; for that stuff,
you need money.
It takes a lot of money to stage an opera, and
in the past 15 years or so, Seattle Opera, like most
major arts organizations around the world, has
been hit hard in the checkbook by the economy.
The Puritan part of our cultural heritage has
meant that American government is basically
anti-art and won’t support it. The mercantile part
of our cultural heritage has meant that art should
“pay for itself,” whether in terms of money or
“positive social outcome,” e.g., art that “empowers
at-risk youth” or “creates community” or “brings
people [of different races, ages, politics, blah blah
blah…] together,” ad inﬁnitum. Pity, these days,
therefore, the art that speaks merely to the human
condition, is beautiful or inspiring or funny or sad
or just plain great. In our simplistic, reductive,
neo-Puritan age, that “mere art” kind of art can
be very hard to sell indeed. Thank goodness for
the passionate and innovative thinkers at the Seattle Opera who are always working on new ways
to get people excited about opera, while keeping
longtime fans happy.

O

Where there’s no money, there’s no true
happiness.
Life is just a series of headaches for the
poor.
But when there’s cash in your pocket, the
world is at your feet.
Money can buy power and love and satisfy
your deepest desires.
Happiness works for its wages. Money is a
wonderful thing.

giant, fantastically gnarly story about pharaohs,
slaves, priests, princesses, love, lust, headgear,
tunes, and kings—plus, if your company has the
money to do it up “grand opera” right, maybe
elephants.
Five months after the success of this ﬁrst opera
in Seattle, Elvis came to town. It Happened at the
World’s Fair, in which he starred, was ﬁlmed in the
same civic complex where Aida had been staged.
Three-hundred-plus singers, musicians, and crew
had taken part in Aida; about the same number
of teenagers hung around in wait for the King of
Rock ’n’ Roll. Elvis had been here before, in 1957,
which is when Jimi (then James) Hendrix saw him.
There are two lessons to be drawn from this: (1)
You never know who is going to see a show, or how
or when or if it will affect them, but you need
to make a place where it can happen. You may
not see the results for years, but you need
to keep providing art—including the old
stuff—so people new to art, like kids, can
see where art and all of us came from and
learn and be inspired by it and then create
toward or with or against it and their and our
forebears. (2) Popular and “high” art take place
side by side, in the same venue, world, heart. It
Happened at the World’s Fair was, like Turandot
and Fidelio, about love and race and gender and

N

I

n the ﬁrst act of Fidelio, there’s an aria about
money. Here’s how Jonathan Dean, Seattle
Opera’s supertitles guru, translated it from
the German:

while the previous production, Turandot,
one of the grandest of the grand operas, cost
closer to $2.9 million. Like most opera productions, both of these were rented whole:
sets, costumes, direction, everything but the
people. The choice of performers is what
distinguishes the individual production, and
the people (performers, musicians, techies,
staff) account for about three-fourths of the
cost of any opera. Only about a quarter of
the cost is material stuff: sets, program, etc.
Every single production requires that the
company raise money.
I am assuming Kelly Tweeddale is a Wagner fan (you’d kind of have to be to work at
Seattle Opera, whose regular productions of
Wagner’s Ring cycle are a company signature), but she’s about the most un-Wagner
type of money-for-opera person you could
imagine. Of income contributed to the opera, 68 percent is given by individual donors.
Compare that to the less than 10 percent
(each) given by corporations, foundations,
and the government. In other words, most
money given to the opera is given by individuals. Part of Kelly Tweeddale’s job is
ﬁnding what an individual donor is passionate about, what he or she would LIKE to
be part of or give to. When Ronald Reagan
took ofﬁce in 1981, one of his stated goals
was to eradicate the National Endowment
for the Arts (which had been created by an
act of Congress in 1965). It was not a coincidence, then, that as government support for
the arts dried up in the 1980s, fundraising,
which had mostly been done by volunteers,
became professionalized. Bake sales gave
way to fostering relationships with individuals who cared about exactly where their dollars were going. In some ways, Tweeddale’s
role is that of a matchmaker. She’s not just
trawling for anyone to marry and provide
well for her kid, she’s looking for a match
that will be a happy one. If someone loves
Italian sing-alongs, they’re more likely to
fund a Puccini than a Shostakovich. If someone wants to bring in ﬁrst-time operagoers,
that person might want to underwrite the
free KeyArena stage show of Madame Butterﬂy. If someone is crushed-out on Greer
Grimsley’s baritone, he might want to fund
part of The Ring. Or if someone likes females who dress like boys, she might want to
fund Fidelio (or The Rosenkavalier or The
Marriage of Figaro or Orpheus and Eurydice…). The idea is to invest in something
you care about.

W

here there’s no money, there’s
no true happiness, Rocco sang.
It’s not that these days
there’s no money, it’s just that there is less
of it. In June of this year, Seattle Opera
announced that an anticipated shortfall of
$1 million was causing them to cut back on
staff and productions. Beginning in 2014, the
company will produce a four-opera rather
than a ﬁve-opera season, and the 14-year-old
Young Artists program will go on hiatus for
the 2013–14 season. The Seattle Opera press
release that announced these cutbacks also
noted that since 2008, the number of opera
performances nationwide has been reduced
by 11 percent. As Michael Stipe once sang,
“Everybody hurts.” I bet he’s making less
money now than he did in the ’90s and the
aughts. Maybe even Elvis, too. Q
Speaking of money (and not having any),
Seattle Opera is doing La Bohème this winter. See the opera calendar, page 33.

JUNGYEON ROH

FICTION

TRADITION,
PASSION,
PROVINCIAL
DISHES

Gingrich
By John Englehardt

Monthly Art Walk
Every 2nd Friday

O

ne day, Travis and Victoria decide that their safe word in bed should be
â&#x20AC;&#x153;Gingrich.â&#x20AC;? At ďŹ rst, the simple fact of having a safe word is exciting for
Travis, but then Victoria begins using it out of context. When he overďŹ lls
her wine glass or runs too fast on their Sunday jog, she shouts â&#x20AC;&#x153;Gingrich!â&#x20AC;? and then
laughs girlishly. It is humorous and clever of her to reappropriate it in this way, but
Travis begins to lament that this means the danger that requires such a word has
been lost.
Then one night, they are riding the bus back to their apartment from Pioneer
Square. It is the First Thursday of December, and they spent the night walking between impressionistic blobs, drinking red wine from clear plastic cups. Travis knows
that they are going to have sex. He decides to bring up the time that they invented
the safe word. â&#x20AC;&#x153;I think you should try to make me say it,â&#x20AC;? he says. They are sitting
in the back of the bus in pale blue seats that smell like homeless people and french
fries.
â&#x20AC;&#x153;Okay,â&#x20AC;? she says. She is smiling and looking out the window. Rain falls through
passing headlights among the dark storefronts and hooded pedestrians.
When they get off the bus, they run through the rain back to their apartment.
Victoria nudges Travis with her elbow like a soccer player vying for the ball. Eventually she uses her shoulder and knocks Travis into a juniper bush. He rolls out of the
bush laughing and then chases after her, but
she has already raced through the front door.
Inside, Victoria has stripped down to her
underwear and is standing in the bathroom
doorway. She is half golden and shadowed by
the dim lamplight.
â&#x20AC;&#x153;Honey,â&#x20AC;? she says, â&#x20AC;&#x153;I think I want to put
you in a cage.â&#x20AC;?
â&#x20AC;&#x153;Okay. We donâ&#x20AC;&#x2122;t really have a cage,
though.â&#x20AC;?
â&#x20AC;&#x153;Maybe we should buy one. I like the idea
of putting you in one, and then, I donâ&#x20AC;&#x2122;t know, letting you out when I decide I want to.â&#x20AC;?
â&#x20AC;&#x153;Well, maybe we can think of a makeshift one for tonight.â&#x20AC;?
Victoria looks around the apartment. She takes a few steps and then opens the
two-foot-high door near the apartmentâ&#x20AC;&#x2122;s entrance. Their building used to be a hotel
for single men back in the 1920s, where meals would be delivered through this small
space the size of a dog kennel.
Travis comes up behind Victoria while she is bending over to examine the cabinet.
He touches her back. â&#x20AC;&#x153;Hey there,â&#x20AC;? he says.
â&#x20AC;&#x153;Settle down. Now get in and donâ&#x20AC;&#x2122;t come out until I say so. You canâ&#x20AC;&#x2122;t speak unless
I talk to you. Also, I think you should be naked.â&#x20AC;?
Travis takes off his clothes and crawls into the cramped space. He is surrounded
by an extension cord, their old 12-inch television set, a couple mason jars ďŹ lled with
coins, and Victoriaâ&#x20AC;&#x2122;s leather boots.
â&#x20AC;&#x153;Love you,â&#x20AC;? she says. She closes the door.
For the ďŹ rst 20 minutes, Travis simply anticipates coming out of the cabinet. He
resists thinking about Victoriaâ&#x20AC;&#x2122;s motives for leaving him there. As time passes, he
listens to her bare feet on the wood ďŹ&#x201A;oor. He hears computer keys typing, then the
sink running in the kitchen, then the lamp in their bedroom ďŹ&#x201A;icking on or off. Cold
air is coming from a crack in the plaster. After an hour, he is no longer aroused and
all he wants is for her to open the door and invite him into the bedroom to sleep.
He will not say the word, though, because he wants her to let him out. He wants
her to not be able to live with his absence. He ďŹ nds a way to lie down in the space
and curls up with Victoriaâ&#x20AC;&#x2122;s leather boots. He thinks of how she wears fuzzy white
socks underneath these boots, and how in the past he considered them tasteless and
mannish. Now he decides they are just another reason to love her. Q

He decides to bring
up the time that they
invented the safe
word. â&#x20AC;&#x153;I think you
should try to make
me say it,â&#x20AC;? he says.

JOHN ENGLEHARDT has a degree in creative writing from Seattle University.
He's currently pursuing his MFA at the University of Arkansas.

elle Randall has lived in Seattle for decades—and never been
celebrated enough. Her gifts of
literary craft are extraordinary—lively
range, exquisite touch. In “Sinsemilla”
she manages in grand old form to treat a
topic of moment today—and also allude
to the love poems of one of the masters
of English literature, Andrew Marvell.
Marvell’s “To His Coy Mistress” supplies
Randall with the phrase “my vegetable
love” (to a 17th-century mind, “vegetable”
would suggest “herbal”). In contemporary California, shades will turn to sunglasses—but the phrase “green thought
in a green shade” comes from Marvell’s fabled poem “The Garden”:
Meanwhile the mind, from pleasure less,
Withdraws into its happiness…
Annihilating all that’s made
To a green thought in a green shade…
Such was that happy garden-state,
While man there walk’d without a mate...
Two paradises ’twere in one
To live in paradise alone.
Randall’s is a special twist on Marvell—for it is from the woman poet’s
standpoint. Bathsheba is fabled for having been impregnated by King David,
and the Virgin Mary (her name here slightly cannabicized to Mari) is fabled, of
course, for having been impregnated by God. They supply Randall with ironic
erotic antecedents for her own “female thwarted in desire.”
The Golden State makes its contribution to this lineage of seductions, as
Modesto’s celestial virtues are tested by the seductions of the pot farm’s highcharged female plants. “In heat” seems as hormonal as meteorological, and
the etymology of the word inspiration, of course, gives us “breathe in”—what
Clinton said he didn’t do. Luckily, Belle Randall tells the truth: She loves a good
old air, and sings it here anew. Q
BELLE RANDALL ’s most recent book of poems is The Coast Starlight (David

Robert Books, 2010). Her website is prosody.org.
WINTER 2012

21

WINTER
FESTIVAL
ILLSLEY BALL NORDSTROM RECITAL HALL
AT BENAROYA HALL

JANUARY 18-26, 2013

NOW EXPANDED OVER 2 WEEKENDS!

TICKETS
AVAILABLE NOW
JAMES EHNES
Artistic Director

206.283.8808
www.seattlechambermusic.org

TOBY SAKS
Associate Artistic Director

Tickets Make Great Holiday Gifts!
NationalTheatre of Great Britain and Bob Boyett present

WarHorse
based on a novel by Michael MorpurgorBEBQUFECZ Nick Stafford
in association with Handspring Puppet Company

Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

22

A&P: SEATTLE ART & PERFORMANCE

WINTER CALENDAR

ART

by Jen Graves

Large Museums
SEATTLE ART MUSEUM
• 1300 First Ave, 654-3100, seattleart
museum.org, open Wed–Sun
Elles: Women Artists from the Centre
Pompidou, Paris (through Jan 13): Men
get the boot and women take over at
SAM this season, but what does it mean
to let the ladies have their day? This show
borrowed from France’s national museum
of modern and contemporary art includes
more than 130 photographs, videos,
sculptures, paintings, and installations
made by 75 women artists between 1907
and 2007. No other American museum
will get this show. It has left Seattle awash
in female-centric everything, best of all
complex conversations about gender and
art (like, thanks for the brief focus on
half the population?). Look and consider:
The gum that Hannah Wilke asked her
audience to chew before she formed each
piece into a little fortune cookie shape
and stuck it to her naked body. Her striptease viewed through Marcel Duchamp’s
abstracting Large Glass. The lightbulb
dress—it lights up!—that Atsuko Tanaka
wore in the 1950s (it’s a wonder she didn’t
burn down). The streaky watercolor of a
girl stooping to piss by Marlene Dumas.
Marina Abramovic punishing herself with
a hairbrush. How do shows like this help
female artists? How do they hurt?
Elles: SAM (through Feb 17): To pair
with Elles from the Pompidou, SAM took
down its own paintings and sculptures
by Warhol, Pollock, Gorky, Kiefer, Smith,
Judd, Chihuly, Rauschenberg, Johns,
Morris, Flavin, and many more artists and
carted them off to storage. Not a single
male artist from the modern and contemporary period remains on the walls
at SAM. In their place? Krasner, Mitchell,
O’Keeffe, Frankenthaler, Holzer, Piper,
Rist, Kusama, Haven, Hesse, Murray, Amer.
All women. Don’t know their names? You
should and will and can, the museum is
saying. The difference is that while the
Parisian show was entirely made up of
art from the Parisian museum’s own collection, SAM’s “transformation” is almost
entirely made up of art borrowed from
somewhere else. Elles: Women Artists
from the Centre Pompidou, Paris used the
word “from” intentionally. The fact is that
SAM, with its puny acquisitions budget
and its catch-as-catch-can collecting habits, does not own anywhere near enough
art by women to create its own version
of Elles. Will it ever? Will it buy any of
what it has on loan here? Hm?
Rembrandt, Van Dyck, Gainsborough:
The Treasures of Kenwood House,
London (Feb 14–May 19): Aaaaaand,
we’re back to the dudes. Beer-swilling
ones, though! From the press release for
this exhibition, which visits SAM as one
of three stops in the US, “Donated by
Edward Cecil Guinness, 1st Earl of Iveagh
(1847–1927) and heir to the world’s
most successful brewery, the collection
was shaped by the tastes of the Belle
Epoque—Europe’s equivalent to America’s
Gilded Age—when the earl shared the
cultural stage and art market with other
industry titans such as the Rothschilds, J.
Pierpont Morgan, and Henry Clay Frick.”
With works by artists from Rembrandt,
Gainsborough, van Dyck, Hals, Reynolds,
and Turner.

COURTESY OF THE ARTISTS AND GREG KUCERA GALLERY

T WO WORKS OF ART AT GREG KUCER A Marie Watt’s Marker: Nocturne (left, $2,700) and Jo Hamilton’s Furnisher of False Information ($3,200).
Hals, Ingres, Zurbarán: The Treasures
of Seattle (Feb 14–May 19): Private collectors in Seattle have rooted through
their holdings to pull out 40 master paintings by luminaries such as Hals, Rubens,
Zurbarán, van Ruisdael, and Georg Pencz.

HENRY ART GALLERY
• 4100 15th Ave NE, 543-2280, henryart
.org, open Wed–Sun
Now Here Is Also Nowhere Part 1
(Oct 27–Jan 6) and Part 2 (Jan 26–May
6) are explorations of the intangible,
of what’s made when artists from several generations have interacted with
thoughts or bodies rather than a specific
material. Part 1 includes a wind tunnel, a
pair of feet cut off from the rest of their
body, a neon sign that declares it should
be turned off when the artist dies, 175
pounds of mint candies you’re welcome
to take with you, a real contract for an
artist’s cremains to be turned into a diamond, and plastic spoons mounted on
the wall with vodka in them daring you
to put your lips up and sip. (Artists are
Tom Friedman, Kimsooja, Felix GonzalezTorres, Mike Bidlo, Jiri Kovanda, Yvonne
Rainer, Francesca Woodman, Louise
Lawler, Christian Marclay, and more.)
Like a Valentine: The Art of Jeffry
Mitchell (through Jan 27) Genius Award–
winner Jeffry Mitchell’s prolific assemblage of drawings, paintings, ceramics
and installations winds its way through
the rooms of the Henry in an overwhelmingly charming maelstrom of sheer tactile
delight, even in its shadows. This 25-year
retrospective positively radiates with
endearing energy.
En plein air (through Feb 16) pairs pleinair paintings wearing gilt frames from the
Henry’s permanent collection with the
architecturally segmented video installations of Neïl Beloufa—all works made out
of doors, watching worlds go by.
A la belle étoile (through March 24) is

Swiss artist Pipilotti Rist’s giant psychedelic video projection of landscapes and
people opening their mouths wide for the
camera to jump down their throats—footage that spreads across the floor under
your feet and climbs across your body as
you move. You can experience the disorienting effects from floor level, that is, or
you can climb the stairs and watch the
movie, and the disoriented visitors below,
from the balcony above. Ephemeral
image meets flesh, and tries to mate.

but once removed—by musical responses
to Joyce’s originals, recorded on the
acclaimed 2008 Fire Records compilation
album featuring musicians like Mercury
Rev, Lee Ranaldo, and Peter Buck.

FRYE ART MUSEUM
• 704 Terry Ave, 622-9250, fryemuseum
.org, open Tues–Sun
Mw [Moment Magnitude] (through
Jan 20), named after the seismological term for measuring earthquakes, is
the final exhibition of the Frye’s 60th
anniversary year. In concept, it’s a total
departure from traditional museology—it
is a festival, a party, a class, and a mass.
The artist lineup includes Jeffry Mitchell,
Shabazz Palaces, Anne Fenton, Buster
Simpson, Evan Flory-Barnes, and Wynne
Greenwood. On Dec 8, the exhibition
undergoes a massive mid-point reinvention, and the gallery will rearrange itself
with new installations and performances
that continue to highlight the interconnected creative talents of this city.
Chamber Music (Feb 9–April 28): Scott
Lawrimore’s first exhibit as curator is a
media-spanning translation. The genesis? James Joyce’s first published work,
a 36-poem anthology titled Chamber
Music, put out in 1907, the same year
Charles and Emma Frye began collecting art. Thirty-six Seattle artists have
been commissioned to create new works
inspired not directly by the Joyce poems

Thirty Six Chambers (Feb 9–April 28),
also drawing its inspiration from the Joyce
collection, challenges the model of curator as solitary role and instead turns the
position over to the entire Frye staff. It’s
an experiment in collective curation.

• 2901 Western Ave, 654-3100, seattleart
museum.org, park open daily, pavilion
open Tues–Sun
Encontro das Águas (through April 14)
envelops the walls of the pavilion in a
drawn sea of sinuously winding waves.
The scale of Sandra Cinto’s piece is such
that you drown in the work, happy to be
going down with the ship as the silvery
lines pull you under.
During the summer, the permanent
installation of sculptures takes on
some of the manic energy of the season: It feels large and almost brazen, a
bustling environment that is in a state
of near-constant interaction. But in the
winter months, everything slows, and
the sculptures seem to slowly breathe as
they settle down into a peaceful hibernation. Brave the weather; the stillness and
solitude are worth it. And look for winterblooming flowers, including downwardfacing hellebores. Reach down and turn
their faces up to yours.

precisely where it belongs: on the artist’s
elegantly obsessive craftsmanship. The
ubiquity of McClure’s calendars and posters is such that one almost forgets that
these narrative illustrations are not drawings but painstaking cut-paper koans to
X-acto knives.
Modern Twist: Contemporary
Japanese Bamboo Art (through Feb
3) showcases artists using a traditional
medium to produce untraditional results.
BAM Biennial 2012: High Fiber Diet
(through Feb 24) is a massive tangle of
thready softness, with fiber work from
more than 40 Northwest artists. Just try
not to cuddle it.
Love Me Tender (Feb 22–May 26):
Punny! James Charles, Maximo Gonzales,
Barton Lidicé Benes and Mark Wagner,
and others use money as both a medium
and a symbol to ask questions about
value, commodity, and identity.
Maneki Neko: Japan’s Beckoning
Cats—From Talisman to Pop Icon
(Feb 22–Aug 4): So. Many. Little. Waving.
Kitty. Paws. One hundred and fifty five of
them, to be precise, in mediums ranging
from stone to papier-mâché. This exhibition traces the Maneki Neko’s evolution
from source of luck and protection to
something more readily recognized as the
greeter at Japanese restaurants.

BURKE MUSEUM
• 17th Ave NE and NE 45th St, UW
Campus, 543-5590, burkemuseum.org,
open Mon–Sun
Plastics Unwrapped (Dec 20–May 27)
expands upon the prescient sentiment
of Mr. McGuire in The Graduate: plastics.
Unwrapped acknowledges that this prevalent and troublingly useful substance is
thoroughly integrated into every aspect
of our lives, and asks us—through works
presented in a variety of mediums—to
make thoughtful choices.

An original work of theatre
inspired by women rock
musicians in Seattle during
the “grunge” years.

acttheatre.org | (206) 292-7676
700 Union Street, Downtown Seattle

ART CALENDAR

CHIHULY GARDEN
AND GLASS

NORTHWEST AFRICAN
AMERICAN MUSEUM

• 305 Harrison St, 753-4940,
chihulygardenandglass.com,
open Mon–Sun

• 2300 S Massachusetts St, 5186000, naamnw.org, open Wed–Sun

(Ongoing): Wander through an
immersive campus of all things
Chihuly. One of the hidden gems
of the museum? Chihuly’s idiosyncratic collection of hoarded
objects, lovingly embedded in the
tabletops of the museum’s cafe.

Bearing Witness from Another
Place (through Sept 29): photographs of James Baldwin’s exile
in Turkey.

ART/NOT TERMINAL

book of the bound (Dec 15–
March 10) is Caletta Carrington
Wilson’s latest series of collages,
which meld text and image to
create narratives that touch on
silence and language, on freedom
and oppression.

The permanent collection
(ongoing) is full of treasures to
be discovered for a first time and
rediscovered anew. The wall of
diminutive snuffboxes—each one
delicately painted with a scene
that draws you into its tiny alternate reality—is itself enough to
warrant multiple visits.

Where Have They Been? Two
Overlooked Chinese Female
Artists (through Dec 30): Chang
Ch’ung-ho Frankel and Lu Wujiu
are both in their 90s. For most
of their lives, their husbands’
careers have overshadowed their
own; this is their much-deserved
close-up.

ARTXCHANGE

(Ongoing): Nine acres full of iconic
cars, with styles that range from
the impressive to the absurd.

Worn to Be Wild (through Feb)
is a history of the iconic black
leather jacket.
The Art of Video Games (Feb
15–May 13) tackles a 40-year history, with a focus on video game
as art form. Nerdy heartstrings
will be tugged in this nostalgiainducing retrospective, including
everything from the Atari VCS to
Playstation 3.

MUSEUM OF HISTORY
AND INDUSTRY
• 860 Terry Ave N, 324-1126,
mohai.org, open Mon–Sun
The Museum of History and
Industry celebrates the grand
opening of its South Lake Union
Home (Dec 29, 10 am–8 pm).
There will be history. There will be
industry. There will be a gorgeous
building on the water, with a
giant John Grade sculpture rising
through its center and even breaking out the top of the building
into the sky.

NORDIC HERITAGE MUSEUM
• 3014 NW 67th St, 789-5707,
nordicmuseum.org, open Tues–Sun
Bad Art? 1,000 Birch Board
Pictures from Sweden (Nov 30–
March 3) is an impressively large
collection of kitschy, painstakingly
crafted paintings on sections of
birch. Does attention to detail
necessarily make something good?
Or does it just mean you wasted
a lot of time making something
that holds no real value? And why
are there so many of these things,
anyway?
Bad Art Community Art
Exhibition (Nov 13–March 3) is
where you paint your own boards.
Boards provided.

Andy Warhol’s Flowers for
Tacoma (through Feb 10) is a
series of illustrations and photographs exploring the artist’s use
of floral imagery, with a focus on
Warhol’s 1982 proposal for the
Tacoma Dome.
Memories and Meditations:
A Retrospective of Michael
Kenna (through March 24): geographically diverse photographs of
timelessness from the British-born,
Seattle-based artist.
Best of the Northwest:
Selected Paintings from the
Collection (through March 17):
stylistically diverse works dating from the early 20th century
through today.

WING LUKE MUSEUM
• 719 S King St, 623-5124,
wingluke.org, open Tues–Sun
Unfolding the Art of Paper
(through Jan 6) goes beyond origami to explore all things paper.
George Nakashima: A
Master’s Furniture and
Philosophy (through Jan 20) is
furniture, architectural sketches,
and drawings by a remarkably
skilled craftsman who had the
misfortune of being Japanese
in Seattle during World War II.
Despite having earned degrees
from both the University of
Washington and MIT, Nakashima
found himself imprisoned in Camp
Minidoka upon his return to
Seattle in the 1940s. This exhibition
traces a lifetime’s worth of work.
Fashion: Workroom to Runway
(through April 21) uses personal
stories to follow the whole
trajectory of garment creation,
including the murky questions
that fashion raises with regard to
stereotypes of beauty and labor
ethics.
Uprooted and Invisible (Dec 7–
Aug 18) looks at the phenomenon

Matthew Scott: It’s only a matter of time (Dec 1–Jan 4) is the
last show for Art on the Ridge,
this final exhibition ruminating on
notions of uncertainty and ending.

ate a meditation on emptiness…
Southern Gothic: Dark Fantasy
from Portland (Feb 8–March
1), the gallery’s fourth all-female
show, features five Portland artists on the line between fantasy
and reality. In partnership with
Tasty Gallery, 10 percent of show
proceeds will be donated to New
Beginnings to aid the fight against
domestic violence.

A Feast for the Eyes: Food in
Art (through Dec 15) Christopher
Boffoli, Kristen Reitz-Green, and
Jere Smith are trying to make
people hungry…In the Mind and
on the Street (Dec 18–Feb 9)
is paintings and photographs by
Justin Behnken, Fabienne Rideti,
Ryan Doran.

BAINBRIDGE ARTS AND
CRAFTS
• 151 Winslow Way E, Bainbridge,
842-3132, bacart.org, open Mon–
Sun
FRUITCAKE: Eccentric and
Eclectic Treats for the Holidays
(Dec 7–31) is an alliterative show
of “food, family, and fruitcake”
by 35 artists…Christopher
Mathie, Larry McCaffrey, and
Kay Walsh (Jan 4–30) work in
three decidedly different mediums: Mathie paints, McCaffrey
plays with plasma welders, and
Walsh takes photographs…Super
Heroes We’d Like to See (Feb
1–25)—maybe it could include
Find Your Lost Keys Man?…Mixed
Nuts (Feb 1–25), where kids get
the opportunity to do everything
that grown-up artists do, hopefully minus the looming specters
of crippling self-doubt and
financial pressure. These student
artists write their statements, sign
contracts, and learn about the
relationship between gallery and
artist…Desktop, Laptop, Tablet,
Phone (March 1–April 1): Karin
Schminke curates a show of works
created solely on screened devices.

BHERD STUDIOS
• 312 N 85th St, Suite 101, 2348348, bherdstudios.com, open
Wed–Fri
Picture Perfect (through Dec 15):
paintings by five artists on the
theme of how people relate to
the “wild and woolly”…New End
(Jan 11–Feb 1): Dylan Neuwirth
and Jeff Gerber team up as the
collective #TRACKSTARS to cre-

Max Kraushaar and Graham
Downing: HMPAITG?AOT (Dec
5–21) wins points for being a truly
unintelligible acronym. What does
it stand for, you ask? How Many
People Are In That Graveyard?
All of Them. And what does that
mean? It has something to do
with the aesthetics of cheesy horror movies and “direct-to-VHS”
releases…Ryan Finnerty and
Anne Petty (Jan 2–27) show new
works…Quilt Show (Jan 30–Feb
24), just when you want to curl up
in warm blankets.

THE CAMP OUT
• 202 Yesler Way, thecampout.org,
see website for details
Shunpike’s beloved Storefronts
program, in which empty storefronts become temporary homes
for artists’ projects, continues its
trend of facilitating awesomeness
with The Camp Out (through
Feb 28). For three months, The
Camp Out functions as a venue
for furthering both the seeing-of
and the discussing-of queer art.
With a visual lineup featuring
Melanie Valera (Tender Forever),
Joey Veltkamp, and Clyde Petersen
(Your Heart Breaks), and a stellar
series of events and programming that includes such gems as
Veltkamp and Jeffry Mitchell interviewing each other, the only negative comment we have about The
Camp Out is that we’re already
disappointed that it will only exist
for three months.

• 1000 Lenora St, 726-5011,
cornish.edu/exhibitions, open
Mon–Fri
Skype Skulpt Studio (through
Dec 15): Genius Award–winner
Susan Robb gets on Skype with
another artist and they create. It
happens in the gallery, as a performance, and afterward, the video
and the sculptures are installed
on pedestals and monitors in the
gallery. The final live Skyping
takes place on closing day, including Lead Pencil Studio and Berlin
artist Gary Schultz co-sculpting
with Robb…Ils Disent (through
Dec 15) is an all-male response
to the female-centric programming surrounding Elles, complete
with a controversial piece pulled
from the show…Design Faculty
Exhibition (Jan 18–March 2):
Cornish design instructors show
the work they make outside of
their teaching practice.

The Photographs of Norman
Durkee (Jan 3–Feb): while best
known as musical director of
Teatro Zinzanni, Durkee also
ventures into photography…
Monumental Collographs (Feb
7–March 3) is Jenny Robinson’s
show of dauntingly large etchings
that muse on decay.

Sam Birchman: Sketches and
Collage (Dec 14–Jan 5): a collection of works on paper by the
wonder-inspiring Seattle artist
(who comes from a line of wonderinspiring Seattle artists), with topics ranging from everything from
sausages to toothpaste to friends.
Maybe the sausage and toothpaste
are even friends…Faceting the
Surface (Jan 11–March 2): Lindsey
Colburn’s site-specific installation
playing with surfaces and human
impact.

High Five (through Dec 29) celebrates Cullom Gallery’s fifth
anniversary by showing five works
each by the gallery’s five most
popular artists…Each moment
we live our lives shine (Dec
6–Jan 26) pairs drawings by
Amanda Manitach, Jayong Yoon,
and Martha Tuttle with poems by
Jane Cope, Tamar Nachmany, and
Valeria Tsygankova…Nostalgia
and Progress: 20th-Century
Japanese Prints (Dec 12–Feb 23)
are pre–World War II Japanese
woodblocks…Air and Mist (Feb
2–March 2) is woodblock prints by
Nunik Sauret.

FOSTER/WHITE GALLERY
• 220 Third Ave S, 622-2833,
fosterwhite.com, open Tues–Sat
In Costume (through Dec 24):
decorated ceramic dress forms
from post-pop/funk sculptor
George Rodriguez—this should
be a blast…Shawn Huckins
(through Dec 24) examines the
contrast between 18th-century
and contemporary communication by asking such questions as
“What would George Washington

WINTER 2012

25

ART CALENDAR

Classical Training for Contemporary Artists

tweet?”…Eternalism (Jan 3–31):
Bobbie Burgers explores the
malleability of her own point of
view…Whole Cloth and Mirrors
(Feb 7–28) is a series of paintings
home to bizarre characters from
the mind of James Martin.

GALLERY 110
• 110 Third Ave S, 624-9336,
gallery110.com, open Wed–Sat
Boxism (Dec 6–29): both gallery
display spaces are turned over to
boxes—concept-based boxes in
the main gallery, and pizza-based
(by which we mean each piece
starts as a pizza box) boxes in
the small gallery…Betty Sapp
Ragan: Looking Up (Jan 3–26):
hand-colored photo collages of
pre-modern ornamental architecture… Sabe Lewellyn: Strange
Glue (Jan 3–26) is a series of collaged images of found objects,
assembled to resemble the exteriors of buildings. Sounds sticky.

GALLERY4CULTURE
• 101 Prefontaine Pl S, 296-7580,
galleries.4culture.org, open
Mon–Fri
Itinerancies (Dec 7–28) is Mario
Lemafa’s photographic exploration of his many homes… Behind
the Curve (Jan 3–Feb 1): video
work from Stephen Sewell, in
which the artist portrays himself
in various acts of self-defeat…
SELF (Feb 7–March 1): Rodrigo
Valenzuela teams up with
Anthony Sonnenberg to delve
into “otherness.”

HEDREEN GALLERY
• Lee Center for the Arts at
Seattle University, 901 12th Ave,
296-2244, hedreengallery.us, open
Wed–Sat
The rug pulled out from
underneath; you lie on the
floor (through Jan 27) is a series
of proposals about “gesture outside of gender,” a quiet, lyrical
puzzle with works by Dawn Cerny,
Shaw Osha, Wynne Greenwood,
and more.

KRAB JAB STUDIO
• 5628 Airport Way S, Suite 246,
715-8593, krabjabstudio.com,
open every second Sat
Anthony Waters Solo Show
and Book Launch (Dec 8): a
release for The Little Book of
Pain…Raven Mimura (Jan 12–
Feb 7): illustrative work…FAERIE!
(Feb 9–28), a group show of fairy
artists.

Tatiana Garmendia: Veils of
Ignorance (Jan 2–31): burned
texts and sound installations that
tell the stories of women who
have been subject to violence.

PAPER HAMMER
• 1400 Second Ave, 6823820, paper-hammer.com, open
Mon–Sat
The Seduction of Color
(through Dec 29) is photographs
from the collection of Robert
E. Jackson…Sculptural clocks by
Patricia Leavengood (through
Dec 29)…Robert Teeple (through
Jan 31) creates an LED homage
to the writers of the Beat
generation.

PHOTOGRAPHIC CENTER
NORTHWEST
• 900 12th Ave, 720-7222,
pcnw.org, open Mon–Sun
Social Order: Women
Photographers from Iran,
India, and Afghanistan
(through Dec 15) Shadi
Ghadirian, Gazelle Samizay, Annu
Palakunnathu Matthew, Manjari
Sharma, and Priya Kambli show
images of such things as feisty,
veiled women posing with mirrors and boom boxes…ReVision:
Photo Center NW Faculty
Exhibition (Jan 2–28): From the
teaching artists of Photo Center
NW…Vivian Maier: Out of the
Shadows (Feb 1–March 28):
images of mid-century American
city life. The contents of this show
were quite literally found in an
abandoned storage locker, and
have made a small sensation in
the photography world since.

ROQ LA RUE
• 2312 Second Ave, 3748977, roqlarue.com, open Wed–
Sat
Let the Devil Wear Black (Dec
7–Jan 5) is Femke Hiemstra’s
mixed-media alternate reality of
anthropomorphized objects that
flit about with a dark cohort of
animals…Disasterma (Dec 7–Jan
5): Ryan Heshka’s painted foray
into the iconography of pulp science fiction and its themes of science, technology, and unintended
disaster…I’ll Love You ’Til the
End of the World (Jan 11–Feb
2) is a group show about coming
to terms with the apocalypse that
won’t be happening in December
(unless it does, in which case most
of this is irrelevant). With Chris
Berens, Camille Rose Garcia, John
Brophy, Martin Wittfooth, JeanPierre Roy, Nicola Verlato, Laurie
Lee Brom, and others…Sam
Wolfe Connelly (Feb 8–March 2)
does disquieting drawings of the
mundane.

SEASON
• 1222 NE Ravenna Blvd, 6790706, season.cz, open by appt
only
Nothing and No Thing (through
Dec 31): a show featuring Bat
Haus, a Boston collective well
know for their haunting and
ephemeral music as well as sculpture, photography, curatorial
experiments, and performances.

Women’s Stories is a series of
narrative-based works taken
from the City of Seattle’s collection (Jan 8–March 29, Seattle
Municipal Tower Gallery, 700 Fifth
Ave, open Mon–Fri)…Ethiopian
Art: Tradition, Assimilation,
and Modification includes work
by 10 Seattle-based artists of
Ethiopian descent (Jan 3–March
4, City Hall Lobby Gallery, 600
Fourth Ave, open Mon–Fri).

Shift of Perspective (Dec 6–29)
is a group show on the topic of
change…New Year (Jan 3–Feb
2) presents new work by new
members of the studio…Dawn P.
Endean (Feb 7–March 2): scientifically inspired work about living
organisms.

side motel…YOU THARMY:) (Dec
5–29): Seth Damm joins forces
with high school student Kazel
Wood to create work about the
uncomfortable and uncertain
moments before ideas come
together…Plant Bodies (Jan 2–
Feb 2): found and collected materials from Ryan Aragon and Allyce
Wood…Knit’in Paintin’ (Jan 2–
Feb 2) is Paul Komada chil’in as he
brings two traditions together…
Magic Sync (Feb 6–March 2): an
interactive audiovisual piece from
Andy Arkley, Courtney Barnebey,
and Peter Lynch that promises
a “bank of arcade buttons”…
FlotsamJetsamLagan: The
Oneness (Feb 6–March 2) shows
works on paper by Cable Griffith
(who has a day job as the curator
at Cornish), with an emphasis on
curiosity over cohesion.

STONINGTON GALLERY
• 119 S Jackson St, 405-4040,
stoningtongallery.com, open
Mon–Sun
Treasures of the Northwest:
A Group Exhibition (Dec 6–Jan
25): natural treasures by Haida
master artist Bill Reid…During
February and March, the gallery
will be moving—but only two
doors down on the same street,
and the gallery will remain open
during the move.

RETHINK PLASTICS AT THE BURKE
“PLASTICS UNWRAPPED”

DECEMBER 20, 2012 — MAY 27, 2013

SUYAMA SPACE
• 2324 Second Ave, 256-0809,
suyamapetersondeguchi.com/art,
open Mon–Fri
Ruffle (through Dec 7) is Gail
Grinnell’s devouring, translucent
cut-paper universe of lightly teaand-coffee-stained drawings of
dress ruffles. The ruffles dangle
from the ceiling and whirl in
tunnels midair and cling to the
rafters, and they give the ashy
appearance of something obliterated, something after a disaster,
just before it falls to dust—it’s no
surprise to learn that the artist
was born, in 1950, and grew up in
Hanford…Deborah Aschheim:
Threshold (Jan 21–April 13) is an
installation containing the artist’s
ideas about the idiosyncratic fallibility of memory.

TASTY
• 7513 Greenwood Ave N, 7063020, shoptastyart.com, open
Tues–Sun
Gifted (Dec 11–Jan 31): a large
group show of holiday-priced
work…Tarts, Trollops, and
Tramps (Feb 3–March 5) is an allfemale lineup in conjunction with
Bherd Studios, and part of the proceeds goes to an organization that
works to end domestic violence.

“Cappella Romana left
the audience suspended
in a zone of otherworldly
beauty. … Can this group
really still be such a wellkept secret in Seattle?”
—Crosscut
“… a landmark
performance … the sense
of liturgical purpose
balanced its rapturous,
sensuous beauty.” —The
Oregonian, review of the
Rachmaninoff All-Night
Vigil, January 2012
“Not for a long time …
have I written anything
with such pleasure.”
—Sergei Rachmaninoff,
1910
Free pre-concert talk
one hour prior to each
performance.

CHRISTMAS & EPIPHANYTIDE

SERGEI
RACHMANINOFF
THE LITURGY OF ST. JOHN
CHRYSOSTOM ǗǔǞǟǜǏǔǫ
ǔǚǌǙǙǌǓǗǌǞǚǟǝǞǌ23
dir. ALEXANDER LINGAS artistic director
Following three sold-out performances last season of
Rachmaninoff’s All-Night Vigil (“Vespers”), this year
Cappella Romana presents Rachmaninoff’s earlier sacred
masterpiece, the Divine Liturgy of St. John Chrysostom.
In Church Slavonic, complete.

his own gallery, Derek Erdman’s
International House of Paintings
(IHOP), but for this month he
graces Vermillion’s walls with
Nikki Burch and Brittany Kusa
(December)…Oscillate (January):
Shelly Farham and Anne
Blackburn pull artists from the
Dorkbot community and the ranks
of University of Washington’s
DXArts (Center for Digital Arts
and Experimental Media) making
art about light and movement…
Ron Ulicny, Raymond Kempe,
James Mullen, and Matjames
Mason take over (February) with
Assemblage.

WINSTON WÄCHTER
FINE ART
• 203 Dexter Ave N, 652-5855,
winstonwachter.com, open
Mon–Sat
Petits Tableaux: A Group
Exhibition of Small Works
(through Dec 21) is new paintings by Chris Pfister…Indigo
Blue (through Dec 21) showcases
Piper O’Neill’s treatment of
obscure footage from Seattle’s
1962 World’s Fair, passing it
through the lens of the artist’s
trippy, post-Victorian sensibility…
Klavier-Stücke (Jan 15–Feb 28):
The MacArthur-winning New
Yorker profile subject Trimpin—
who happens to be a Seattle
artist—is paying homage to the
100th birthdays of the late John
Cage and Conlon Nancarrow with
a series of deconstructed pianos
that make music based on a set of
colored screen prints on the wall.
The prints are read by a motorized robot arm, which translates
colors into musical cues sent to
the pianos. Also expect: a work of
art that operates like a vending
machine. Put in a quarter and a
window rolls up to reveal—wait
for it—a Thomas Kinkade painting Trimpin hilariously owns (it
was a gift, he says by way of
disavowal; “Kinkade was one of
those hypocritical Christians,”
Trimpin continues. “Did you know
he peed on Winnie the Pooh
once?”). As of press time, Trimpin
was still breathlessly searching for
his Kinkade, which he had somehow misplaced.

WRIGHT EXHIBITION SPACE
• 407 Dexter Ave N, open Thurs
and Sat
a rose is a rose is a rose
(through Jan 17) is another
mixing of works from the stellar Wright collection, this time
selected and installed by SAM’s
modern and contemporary curator, Catharina Manchanda.

ZEITGEIST

28

A&P: SEATTLE ART & PERFORMANCE

dark—which, in addition to being
slightly obsessive, just so happen
to be adorable.

Events
DEC 6
Paul Elliman: Artist Talk
The London-based artist, designer,
and all-around smarty-pants
whose work is included in the current Henry exhibition Now Here Is
Also Nowhere (Part 1) often creates art that essentially consists of
what he’s called “talking signs.”
He uses found city sounds—he
once conducted sirens tours of
New York—or sound illusions
taken from cinema and inserted
into real urban environments (or
he’s also created new fonts made
of old typographies). His contribution at the ephemeral exhibition
Now Here fills a tunnel-type
chamber off to the side of one of
the galleries with recordings of
wind taken from movies. In there,
you swear it’s cooler. He’s here to
talk about his work, seen across
Europe and the United States.
• Henry Art Gallery, 15th Ave NE
and NE 41st St, henryart.org,
7 pm, $10.

JAN 9
Jenny Holzer
Jenny Holzer, whose work is on
display in Elles: SAM, pulls philosophical and intellectual writings
into her pieces to further the conversation about power dynamics and feminism. She speaks in
Seattle with SAM’s curator of
modern and contemporary art,
Catharina Manchanda.
• Seattle Art Museum, 1300 First
Ave, seattleartmuseum.org,
7 pm, $10

The resident artists of the
Scheuerman Building open up.
In addition to the gift-friendly
jewelry, paintings, letterpress
cards and posters, and ever-somuch-more, the lobby is home to
Ex Voto Machina, a “neuroprosthetic, large-scale mechatronic
artwork” by Meghan Trainor,
which sounds dangerous, exciting,
and like just what Dad wants for
Hanukkah.

ONN/OF Festival

• ‘57 Biscayne, 110 Cherry St,
57biscayne.com, 6–9 pm

DEC 7

Organizers Susan Robb and Sierra
Stinson return for a second year
of this homage to the cyclic and
spiritual roles played by darkness,
light, and gray in the Northwest.
Intentionally scheduled for “what
has been scientifically proven to
be the worst, most depressing day
of the year,” this sprawling weekend of mixed-media installations,
music, and food is an invitation to
celebrate the light.
• The Sweater Factory, 1415 NW
52nd St, onnof.us

Morality Tales: American Art
and Social Protest

FEB 5

Patricia Junker, SAM’s curator of
American art, discusses how the
social upheaval of the 1930s and
’40s fundamentally changed the
landscape of the American art
establishment as artists turned to
their work as a means to channel
their outrage.

DEC 9
Bear Hug
This here’s a party for Jeffry
Mitchell, “Seattle’s BFF” and the
subject of the 25-year retrospective exhibition Like a Valentine.
In the friendly spirit of the artist,
his friends will lead a tour of the
exhibition at 2 pm—having the
artists’ friends give a tour is a brilliant idea almost never employed
in the formal art world—followed
by a reception and chain-saw
bear sale. CHAIN-SAW BEAR SALE.
You get to choose from a selection of chain-saw bears picked by
Mitchell and fellow Seattle artist
Claude Zervas, who drove around
the Olympic Peninsula finding
them.
• Henry Art Gallery, 15th Ave NE
and NE 41st St, henryart.org,
1–3 pm, $10

Deborah Willis
Deborah Willis, Chair and
Professor of Photography and
Imaging at Tisch School of the
Arts, New York University, dis-

In conjunction with Plastics:
Unwrapped, the Burke brings
together 10 plastic experts and
gives each of them six minutes
and 20 slides to cover the complex
world of the material, both in
terms of its incredible malleability
and its troublesome environmental impacts.
• Neptune Theater, 1303 NE 45th
St, stgpresents.org, 7 pm, $5

FEB 23
Artist Trust Benefit Art
Auction
Every year, Artist Trust gives tens
of thousands of dollars to individual artists to support their creative ideas right “at the source,”
as their slogan truthfully goes.
This auction benefits them. On
top of it, people walk out with
screaming art deals.
• Fisher Pavilion at Seattle Center,
see artisttrust.org for details

A&P WINTER CALENDAR

PERFORMANCE

Roméo et
Juliette
Feb 1–10 at
McCaw Hall

by Brendan Kiley and Kaytlin McIntyre

Larger Theaters
5TH AVENUE THEATER
• 1308 Fifth Ave, 625-1900, 5thavenue.org
Elf: The Musical: (Through Dec 31):
Based on the very funny hit holiday film
starring Will Ferrell.
The Music Man (Feb 7–March 10): “You
pile up enough tomorrows, and you’ll
find you are left with nothing but a lot of
empty yesterdays.”

ACT THEATER
• 700 Union St, 292-7676, acttheatre.org
A Christmas Carol (Through Dec 30):
ACT Theater’s annual performance of
the Dickens holiday story as adapted
by early Seattle theater pioneer Greg
Falls. Starring R. Hamilton Wright and
Jeff Steitzer as Scrooge (on alternating
nights), directed by John Langs.
Oedipus El Rey (Dec 6–16): The story of
the world’s most famous motherfucker,
set against the backdrop of a prison in
Southern California. This adaptation, performed by eSe Teatro, was written by Luis
Alfaro, who has won a MacArthur Genius
Award for his Chicano versions of Greek
classics, including Electricidad, his take on
Electra.
Wisemen (Dec 13–22): ACT’s holiday
musical comedy about three Jewish
attorneys—Goldberg, Frankenstein, and
Murray—who set out to help Joseph of
Nazareth figure out who pregnacized
Mary.
14/48: The World’s Quickest Theater
Festival (Jan 4–12): The return of
Seattle’s fast-and-loose performance
festival, in which a small army of local
theater-makers write, rehearse, design,
and perform seven new plays in 24 hours,
catch a few moments of sleep, and then
do it all over again.
The Seagull (Jan 23–Feb 10): “Man, you
know what’s great about socialism?”
some actors will tell you. “State-sponsored
theater. Those guys would rehearse a
single Chekhov play for like three years.”
This ensemble, led by director John Langs,
has been scratching that itch for the past
nine months, studying and rehearsing
their version of The Seagull. Starring
Alexandra Tavares, Brandon J. Simmons,
Julie Briskman, and others.
A Day in the Death of Joe Egg (Jan
31–Feb 17): A 1967 play by Peter Nichols
about a couple whose daughter has cerebral palsy and how they use humor to
cope. This is the first production by new
company Thalia’s Umbrella, and it involves
Leslie Law, Brandon Whitehead, Susan
Corzatte, and others.
These Streets (Feb 22–March 10): A
world-premiere rock ’n’ roll play with a
live band about women in the Seattle
music scene in the 1990s. Creators Sarah
Rudinoff, Gretta Harley, and Elizabeth
Kenny based the show on dozens of interviews with real live rock ’n’ rollers and
included music by the Gits, 7 Year Bitch,
Hammberbox, and more.

honor of the centennial of Stravinsky’s
Rite of Spring, her company will perform
Chouinard’s Le sacre du printemps—
another bold gesture, to choreograph
that—as well as 24 Preludes, set to
Chopin.
Black Grace (Feb 21–23): New Zealand’s
leading contemporary dance company,
led by choreographer Neil Ieremia, presents a fusion of Pacific Islander and contemporary dance. The Toronto Globe and
Mail calls it “an explosive combination of
Samoan ritual, martial arts, and daredevil
risk-taking.”

Hedwig and the Angry Inch (Jan
15–27): See the listing under Balagan
Theater.

• McCaw Hall, 321 Mercer St, 441-2424,
pnb.org

SPANK! The Fifty Shades of Grey
Parody (Feb 13–17): Written and directed
by Jim Millan of The Kids in the Hall,
Marijuanalogues with Tommy Chong, and
more.

Nutcracker (Dec 7–29): The Stowell/
Sendak one that premiered on Dec 13,
1983, and was intended, in Sendak’s
words, to reach beyond “humongous
Christmas tree and fatuous Candyland.”

Bill Frisell, The Great Flood (March 2):
Film and staging by Bill Morrison, music
composed and performed by music-theaterperformance genius Bill Frisell, based on
the Mississippi River flood of 1927.

Nick Kroll (Dec 14): Comedy.

Roméo et Juliette (Feb 1–10): The
Jean-Christophe Maillot version, with
Prokofiev’s score. In 2009, Jen Graves
described it in The Stranger as: “hot…
It seduces the audience with everything
the dancers have, not just some of
it—their command and their release;
their Olympian ability not just to spin
bolt upright but also to ache… Feels are
copped. Making out is not symbolized: It
occurs.”

ON THE BOARDS

PARAMOUNT THEATER

NEPTUNE THEATER
• 1303 NE 45th St, 682-1414,
stgpresents.org

• 100 W Roy St, 217-9888,
ontheboards.org
Kyle Loven (Dec 5–10): The local experimental puppeteer—whose work has been
described in The Stranger as “a little bit
Edward Gorey, a little bit Samuel Beckett,
and a little bit Czech surrealism”—performs another one of his expressionistic
shows with an intricately rigged set, titled
Loss Machine.
Catherine Cabeen and Company (Jan
17–20): Local choreographer and OtB
favorite (Into the Void, The A.W.A.R.D.
Show!, the NW New Works Festival)
returns with Fire!, an “immersive stage
environment” with six dancers exploring
the legacy of artist Niki de Saint Phalle,
who worked with paint, sculpture, collage, naiveté, femininity, and guns and
knives.
She She Pop and Their Fathers (Jan
31–Feb 3): The Berlin-based group integrates big band covers and father/daughter dances (with the performers’ actual
septuagenarian fathers) in Testament, a
vision of paternal relationships from King
Lear to Dolly Parton.

Compagnie Marie Chouinard (Jan
24–26): Montreal-based choreographer
Marie Chouinard makes work that is
strange without being esoteric—it’s
bold and sometimes controversial, no
subtle parsing necessary. The most iconic
Chouinard image may be dancers with
crutches and other mobility aids strapped
to their bodies, bristling with new aluminum limbs and new possibilities for
movement, balance, and extension. In

• 911 Pine St, 682-1414, stgpresents.org
Louis CK (Dec 20–21): One of the grand
masters of 21st-century, disgruntled-butlovable schlub comedy.
The Book of Mormon (Jan 8–20): “I
believe that God has a plan for all of us.
I believe that plan involves me getting
my own planet. And I believe that in
1978, God changed his mind about black
people! I am a Mormon, and a Mormon
just believes.”
Lewis Black (Feb 1): Performs The Rant
Is Due, his standup show about the presidential election.
Hubbard Street Dance Chicago (Feb 9):
Performs Three to Max by Israeli choreographer Ohad Naharin.
War Horse (Feb 13–24): Seattle Theater
Group and Seattle Repertory Theater
copresent the WWI story of a boy and his
trusty steed Joey, made spectacular with
puppetry by the renowned Handspring
Puppet Company.

New Play Festival (Jan 5–Feb 3):
Workshops of four new plays, including
the second part of All the Way by Robert
Schenkkan (the first premiered at Oregon
Shakespeare Festival this past season), a
commissioned piece about the evangelical
“ex-gay” phenomenon by Samuel Hunter,
a docu-drama about Vietnam antiwar
groups by Elizabeth Heffron and Kit
Bakke, and a play by Justin Huertas about
a concert cellist with superpowers.
American Buffalo (Jan 11–Feb 3):
Mamet’s searing comedy about greed and
revenge in a junk shop, starring Charles
Leggett, Hans Altwies, and Zachary
Simonson. Directed by Wilson Milam
(Glengarry Glen Ross, The Seafarer).
Photograph 51 (Feb 1–March 3):
Another woman screwed over by history—the race to discover DNA’s doublehelix structure leaves overlooked scientist
Rosalind Franklin out of the books.
Starring Kirsten Potter, Bradford Farwell,
Darragh Kennan, and others. Directed by
Braden Abraham.

THE TRIPLE DOOR
• 216 Union St, 838-4333, tripledoor.net
Land of The Sweets: The Burlesque
Nutcracker (Dec 11–27): The seventh
annual installment of this bawdy-ized ballet with Jasper McCann and Lily Verlaine,
Waxie Moon, Kitten La Rue, and new
cast members from Ballet Bellevue and
Spectrum Dance Theater.
The Big Gig (Jan 26): A cabaret/variety
show.
The Atomic Bombshells (Feb 14–16):
The popular Seattle burlesque group.

VILLAGE THEATER
• 303 Front St N, Issaquah, 425-392-2202,
villagetheatre.org
Fiddler on the Roof (Nov 7–Dec 30): The
famous musical inspired by Marc Chagall’s
paintings of Eastern European Jewish life,
which often featured a fiddler. Starring
Eric Polani Jensen, directed by David Ira
Goldstein.
The Mousetrap (Jan 16–Feb 24): Agatha
Christie’s mystery story, and the longestrunning play in modern history.

Smaller Theaters

SEATTLE REPERTORY THEATER

ANNEX THEATER

• 155 Mercer St, 443-2222, seattlerep.org

• 1100 E Pike St, 728-0933, annextheatre.
org

Inspecting Carol (Through Dec 23): In
this ensemble-developed play originally
spearheaded by Daniel Sullivan in 1991—
now revived by current artistic director
Jerry Manning—the curtain rises backstage on a theater’s rattletrap production
of A Christmas Carol that is falling apart.

The Woman in the Wall (Through Dec
15): Pacific Play Company presents a world
premiere by Daniel Tarker about a woman
and an infant found buried in the wall of
an old Seattle high-rise, and a journalist
who tries to sort out the mystery.

Spin the Bottle (Dec 7, Jan 4, Feb 1,
March 1): Annex Theater’s long-running,
late-night buffet of monthly entertainment. You never know what’s gonna turn
up.
Weird and Awesome with Emmett
Montgomery (Jan 6, Feb 3, March 3):
A monthly event, curated by comedian
Emmett Montgomery, with jokes, songs,
storytelling, and other stuff. Performers
are often encouraged to do something
they don’t normally do.
Undo (Jan 18–Feb 16): Rachel and Joe
are getting divorced, and everyone they
know is invited. This world premiere by
Holly Arsenault takes place in a world
“where the worst moment of your life is
something that people dress up for.”
Second Date (Jan 29–Feb 13): Three playwrights and three directors have “their
first collaborative kiss.”

BALAGAN THEATER
• Erickson Theater Off Broadway, 1524
Harvard Ave, 329-1050, balagantheatre.
org
Avenue Q (Through Dec 16): A recommended rendition of the puppet musical
loosely based on Sesame Street, but all
grown up (which isn’t always a happy
thing).
Three Men and a Baby Jesus (Dec
7–15): Three guys, one god—what could
go wrong?
A Very Blood Squad Christmas (Dec
22): Improv on a horror-movie theme.
Hedwig and the Angry Inch (Jan
17–27): “How did some slip of a girly boy
from communist East Berlin become the
internationally ignored song stylist barely
standing before you?” Directed by the
talented Ian Bell (Seattle Confidential, the
Brown Derby series), starring the talented
Jerick Hoffer (aka Jinkx Monsoon), performed at the Moore Theater.
Next to Normal (Feb 8–March 2):
Coproduction with Contemporary Classics
and directed by Brandon Ivie. Starring
Marya Sea Kaminski.

PERFORMANCE CALENDAR
Owen Meany’s Christmas
Pageant (Through Dec 23):
Another installment of Book-It’s
popular adaptations of the John
Irving novel about a boy, an
orphanage, and the physician/
abortionist who watches over
them all.
Geek Out (Dec 28–29): The latest
in Book-It’s new site-specifc experiment called Circumbendibus. This
one, directed by Andy Jensen, will
be “a celebration of sci-fi, new
media, and the graphic novel” at
Erickson Theater Off Broadway
(1524 Harvard Ave).
Anna Karenina (Feb 5–March
3): Another dose of Russian angst
from Seattle theaters this winter. Adapted by Kevin McKeon,
directed by Mary Machala.

BOOM! THEATER
• 429 Fairview Ave N, boomtheater
company.org
Give a Dog a Bone (Through
Dec 8): A new one-act about two
lovers and their turbulent history
in a strip club. Following the play
will be dance by new company A
Little Burlesque.
End of the World Party (Dec
21): Another seizing of the supposed Mayan-end-of-the-world
thing (which real-life Mayans
have rejected as sensationalist
hogwash, but whatever) as an
excuse to have a party.
New World (Feb 1–23): A new
comedy written and directed by
Daniel Theyer about explorerVikings.

COMEDY UNDERGROUND
• 109 S Washington St, 628-0303,
comedyunderground.com
Hari Kondabolu (Dec 5–8): The
Comedy Underground has been
the primary incubation tank for
many local comedians who have
gone on to great things—see
their website for full listings in
the near future. This December,
Hari Kondabolu (who has won
awards at national comedy
festivals, been on international
tours, and is working as a writer
for Chris Rock’s awesome Totally
Biased on FX) tries out some new
material on us.

Hamlet (Jan 18–Feb 3): A genderswapped production (the ladies
philosophize and plot, the men
watch helplessly) directed by Beth
Raas-Berquist.
Battle of the Bards (Feb 15–16):
Ghost Light’s annual fundraiser
in which three ensembles compete, in 20-minute productions,
for a slot in the next season. This
round: a rock-opera adaptation
of Othello, a steampunk adaptation of Sleeping Beauty, and a
modern-warfare take on Trojan
Women by Euripides.

LANGSTON HUGHES
PERFORMING ARTS CENTER
• 104 17th Ave S, 684-4758,
brownpapertickets.com
Langston Birthday Bash (Feb
1): Motown music and dance to
celebrate the 111th birthday of
Langston Hughes. The invitation
says: “Dress up or down, just
come.”
Call Mr. Robeson (Feb 8–9): A
solo show about Paul Robeson—
with some of his most famous
songs and speeches—by Nigerian
performer Tayo Aluko.
From Black Africa to the
White House: A Journey of
Resistance, Triumph, and
Spirituals (Feb 10): A talk about
domination and resistance, from
preslavery Africa to the inauguration of Barack Obama, punctuated with music. Performed by
Tayo Aluko.
Cleo Parker Robinson Dance
Ensemble (Feb 16): A world premiere of FUSION, choreographed
by Haitian choreographer
Jeanguy Saintus.
Harriet’s Return (March 1–2):
A solo show by Karen Meadows
about the life of Harriet Tubman.

SATORI GROUP
• Inscape Arts, 815 Seattle Blvd S,
satori-group.com
New Year’s Moving-In Party
(Dec 31): Celebrate Satori’s move
into the company’s new home
after its old building (the artists’
warren known as the “516 building”) was shut down by the city.
Hotel Party (Jan 12): A “recurring rager” with rough cuts of
new work by writers and performers.
reWilding (March 1–17): A worldpremiere collaboration with
Martyna Majok (Yale School for
Drama) that, as of this writing, is
still nascent but has something
to do with swamps and a new
society.

SEATTLE CHILDREN’S
THEATER
• 201 Thomas St, 441-3322, sct.org
The Wizard of Oz (Through Jan
6): Starring well-loved local actors
such as including Kasey Nusbickel,
Peter Crook, and Todd Jefferson
Moore. Directed by Linda Hartzell.
Dot and Ziggy (Jan 15–Feb 17):
Created by Linda Hartzell, Mark
Perry, and SCT, this play-withmusic explores what a skunk and
a ladybug have in common.
The Edge of Peace (Feb 28–
March 17): Set at the end of
World War II in a small Illinois
town, the story centers around
Buddy, the younger brother of a
soldier at war.

SEATTLE SHAKESPEARE
COMPANY
• Center House Theater, Seattle
Center, 733-8222,
seattleshakespeare.org
A Doll’s House (Jan 2–27): Some
describe this Ibsen play as feminist, but he declared—in an 1898
speech to a Norwegian women’s
rights organization—that he
“must declaim the honor of having consciously worked for the
women’s rights movement” as he
didn’t write with “any conscious
thought of making propaganda”
but only “the description of
humanity.” Either way, it ends
with a wife leaving the house,
slamming the door behind her.
Starring Jenny Sue Johnson as

THEATER SCHMEATER
• 1500 Summit Ave, 324-5801,
schmeater.org
Fallen Angels (Through Dec 15):
An amusing production of an
early play by Noël Coward about
wives who drink cocktails—while
their husbands are away for a
weekend of golf—and are waiting for “an assignation” with a
French dude.
A Behanding in Spokane (Jan
25–Feb 3): Martin McDonagh
set most of his violent, gallowshumor comedies among drunks,
paramilitaries, and fools in rural
Ireland. This one takes place in
Eastern Washington. Directed by
Peggy Gannon.

UNEXPECTED
PRODUCTIONS
• 1428 Post Alley, 587-2414,
unexpectedproductions.org
Improv Happy Hour (Through
Dec 29): Improv comedy every
Wednesday at 7 pm, with “an
edgier story based on longform comedy” instead of their
Theatersports™ specialty.
Womb Escape (Through Dec
22): A competition between four
teams of improvisers for an audience’s hearts and minds.
A(n Improvised) Christmas
Carol (Through Dec 29):
This Scrooge-plus-audiencesuggestions show was first performed in 1985.

VELOCITY DANCE CENTER
• 1621 12th Ave, 325-8773, velocitydancecenter.org
Velocity Open Forum: Real/
Time (Through Dec 10): A series
of open houses, panels, book
clubs, and other social events
centered around the Next NW
and Next Dance Cinema festivals. Included: a travelogue
about American and Cambodian
dancers working together in
Cambodia; a panel with Wayne
Horvitz, Adam Sekuler, and Mark
Haim; happy hours at Boom
Noodle; and more. See Velocity’s
website for details.
Velocity Is Burning (Dec 6): A
“kooky-queer cabaret” with performances by Alice Gosti, Team
Diva Real Estate, and others.
Next NW (Dec 7–9): Featuring
new works by Shannon Stewart,
thefeath3rtheory (Raja Kelly),
Babette McGeady, Erica Badgeley,
Molly Sides, Markeith Wiley’s The
New Animals, Sarah Butler, and
Paris Hurley.
Next Dance Cinema (Dec
10): Dance films by Adam
Sekuler, Joan Laage and
Karolina Bieszczad Stie, Rodrigo
Valenzuela and Molly Sides, and
many others.
The Bridge Project 2013 (Feb
1–3): New choreography by Amy
Johnson, Britt Karhoff, Chris
McCallister, and Elia Mrak created in a three-week “pressure
cooker.”

VERMILLION
• 1508 11th Ave, boylan
conversation.wordpress.com
The Conversation with John
Boylan (Dec 18): Another installment of John Boylan’s roundtable discussions in the Vermillion

art gallery and bar. This iteration
is about “the art of intoxication”
and may feature a perfumer, a
distiller, and a chocolatier.

WASHINGTON ENSEMBLE
THEATER
• 608 19th Ave E, washington
ensemble.org
Ballard House Duet (Dec 7–17):
Estranged sisters wade through
accumulated possessions (and
grudges) to save their aunt from
an avalanche of hoarding. Debut
production of the Custom Made
Play Project, which matches local
writers to actors to develop a
new play with “regional significance.” Written by Stranger
Genius Paul Mullin, starring Hana
Lass and Rebecca Olson, and
directed by Erin Kraft.
To the Nines (Feb 16): The
annual WET benefit gala.

WEST OF LENIN
• 203 N 36th St, 352-1777,
westoflenin.com
Rosebud: The Lives of Orson
Welles (Through Dec 15): A solo
show about Welles, written by
Mark Jenkins, which has been
performed in theaters from
Manhattan to Port Townsend.
Starring Erik Van Beuzekom.
Christmas: B-Sides and
Rarities (Dec 17): Theater shorts,
poetry, and bluesy music with
Jim Jewell, Jennifer Jasper, Scot
Augustson, Paul Mullin, and a
bunch of other folks.
Sandbox Radio Live! (Jan 21):
Another installment of the raucous live-recorded theater-musicradio show.
Beating Up Bachman (Jan 25–
Feb 16): A new play by Wayne
Rawley (Live! From the Last Night
of My Life), directed by David
Gassner.

Loving Hut Seattle

1226 S. Jackson St. (206) 299-2219 lovinghut.us/seattle/

100%

VEGAN!

Open for
Lunch & Dinner

WING-IT PRODUCTIONS
• 5510 University Way NE,
wingitpresents.com
Jet City Improv (Ongoing):
Improv performed in this here
city.
It’s Your Wonderful Life
(Through Dec 23): An improv
show that lets an audience member take the place of George
Bailey each night to go over his/
her “wonderful life.”
Twisted Flicks (Dec 27–29, Jan
24–26, Feb 21–23): Old movies
with new live commentary and
scoring. December’s is Rudolph’s
Shiny New Year.
Austen Translation (Jan 3–18,
Jan 31–Feb 8): Jane Austen–
themed improv, in a coproduction with Book-It Repertory
Theater.
The Seattle Festival of Improv
Theater (Feb 13–17): An annual
international improv festival.
WINTER 2012

One of the earliest
electronic musical
instruments, the ondes
Martenot.

Rachmaninov Festival (Jan 3, 5): Four
young musicians playing their hearts out
on some of the toughest pieces in the
repertoire over two nights, led by Ludovic
Morlot—this is an event. They’re tackling
Rachmaninoff’s four famed concertos.
Numbers one to four, respectively, are
played by Yeol eum Son (born in 1986 in
South Korea), Benjamin Grosvenor (born
in 1992 in the UK), Denis Kozhukhin
(born in 1986 in Russia), and Alexander
Lubyantsev (also born in 1986 in Russia).
Symphony Untuxed: Stravinsky &
Mozart (Jan 11): Same lineup as Jan 10
and 12 but without the Mendelssohn,
without an intermission, and more casual.
Come as you are.
Baroque & Wine: Bach & Telemann (Jan
18): Led by guest conductor Matthew Halls,
the symphony performs Handel, Rameau,
Telemann, and Bach. Wine-tasting happens
in the lobby before the concert.
Nobuyuki Tsujii Plays Debussy and
Chopin (Jan 22): It’s a solo recital with the
24-year-old Japanese pianist whose goldmedal performance at the 2009 Van Cliburn
competition was the stuff of legend.
Celebrate Asia (Jan 27): Starting with
preconcert performances in the lobby
by local cultural groups, then moving
into the main hall with the symphony,
pianist Nobuyuki Tsujii, piano duo
Kimberly Russ and Oksana Ezhokina,
Indian violinist Ambi Subramaniam, and
mridangam (Indian drum) player Mahesh
Krishnamurthy.
Morlot Conducts Messiaen’s
Turangalîla (Jan 31, Feb 2): This is very
cool. It’s the symphony’s first-ever performance of Messiaen’s monumental
“love song” written in the 1940s, which
incorporates one of the earliest electronic
musical instruments (the ondes Martenot,
invented in 1928). Influenced by the classical Javanese orchestra, the gamelan, and
taking its title from two Sanskrit words,
the piece will be introduced by a preshow
lobby performance by the local Gamelan
Pacifica and a behind-the-scenes tour of
what you’re about to hear by conductor
Ludovic Morlot, guest pianist Jean-Yves
Thibaudet, and ondes Martenot specialist
Cynthia Millar. Then comes 80 minutes of
awesome.
French Masters (Feb 1): Visiting celeb pia-

New Year’s Eve Concert, Countdown
& Celebration (Dec 31): An encore performance of Beethoven’s Ninth, preceded
by Rachmaninoff’s Piano Concerto No.
2 featuring Benjamin Grosvenor, a rising pianist born in 1992 in the UK. Then,
watch the ball drop in a post-concert
party in the lobby hosted by charismatic
music director Ludovic Morlot.

Beethoven’s Ninth Symphony Plus
Tango (Dec 28–30): First, tango dancers
Eva Lucero and Patricio Touceda—these
popular local teachers are gorgeous—kick
off the night with a performance to
Piazzolla’s The Four Seasons of Buenos
Aires with the orchestra. Then the
Symphony Chorale joins the instrumentalists for Beethoven’s Ninth led by Ludovic
Morlot, culminating in the “Ode to Joy.”

given—this is an unusual recital drawing a
line through the history of the solo violin
repertoire from Bach to contemporary
composers, including new commissions.

nist Jean-Yves Thibaudet, here to perform
in the symphony’s first-ever Turangalîla,
will also give a recital with a select group
of symphony musicians in a program of
works by Milhaud, Poulenc, Caplet, and
Messiaen (Quartet for the End of Time!).
Brahms Symphony No. 4 (Feb 7, 9,
10): Despite the title of this program, the
highlight is actually a world-premiere
piece that venerable American composer
Elliott Carter wrote as a special gift to
Ludovic Morlot in his new role as the
Seattle Symphony’s music director. It’s
called Instances. Also on the program:
the William Tell Overture (Rossini) and
Schumann’s Piano Concerto.
Untuxed version of Mozart’s Piano
Concerto No. 21 (Feb 15): Shorter, no
intermission, more casual, still featuring
Tiberghien.
[Untitled] Series: Pierrot Lunaire (Feb
15): In the 101 years since this expressionist melodrama by Arnold Schoenberg
made its debut in Berlin, it has not
become any less seriously weird. Yay! It’s
the centerpiece of this late-night lobby
concert, the first of which happened last
fall and was electric. (See story, page 15.)
Featuring soprano Cyndia Sieden and
other works by Jörg Widmann and Daniel
Schnyder (a bass trombone concerto!).
Itzhak Perlman in Recital (Feb 19): The
great.
Mozart’s Flute Concerto No. 1 (Feb 28,
March 2): Your chance to really hear that
recently appointed principal flute who’s
been making your ears perk up back there
in the winds section, Demarre McGill.
Guest-conducted by Douglas Boyd in an
all-Mozart program, including Symphony
No. 1 and the “Haffner” serenade.
Anne-Sophie Mutter (March 3):
Superstar violinist solo recital, featuring
sonatas by Schubert, Mozart, Saint-Saëns.

such an impression at McCaw with his
2010 Lucia di Lammermoor (Tomer
Zvulun) and the young Sardinian tenor
the Seattle Times called “not merely
spectacular but profound and potentially great” for his performance as the
second-cast Alfredo in La Traviata in 2009
(Francesco Demuro), and the Italian conductor who led the soul-shredding Attila
at the start of 2012 (Carlo Montanaro).

MEANY HALL
• University of Washington campus at
15th Ave NE and NE 40th St, 685-2742,
meany.org
Seattle Philharmonic, “Experience:
The Teacher of All Things” (Jan 13): In
a program including The Art of Fugue:
Contrapunctus IX by Bach, Inscape by
Copland, the Masonic Cantata by Mozart,
and Prokofiev’s Symphony No. 7.
Christopher O’Riley (Jan 29): Known for
his classical radio show on NPR, From the
Top, and his renditions of Radiohead, the
pianist this time performs selections by
Liszt based on themes from other composers, including Berlioz, Schubert, Schumann,
Mozart, and Wagner—and some of
O’Riley’s own further interpretations.
Juilliard String Quartet (Feb 6): With
new first violinist Joseph Lin, taking on
Mozart’s String Quartet in D Major, K.
575, Elliott Carter’s String Quartet No. 5,
and the piece of music that spawned the
recent Christopher Walken movie A Late
Quartet, Beethoven’s long, pauseless,
increasingly out-of-tune String Quartet in
C Sharp Minor, Op. 131.
Music of Today: The 21st Century
Piano (Feb 26): Curated by featured performer Cristina Valdes, including the US
premiere of a work by Robert Platz.

Cinderella (Jan 12–26): Rossini’s version is
more good-natured comedy than earnest
fairy tale. And here, it arrives in a sparkling,
madcap production that got seriously high
praise from the Houston Chronicle, calling
the work of its designer, Joan Guillén “stridently Spanish,” “brilliantly cartoonish,”
and “reminiscent of certain landmark collaborations of the Ballets Russes.” Seattle
Opera educator Jonathan Dean writes,
“We have a promising ensemble cast of hot
young stars from around the world, many
of whom are singing here for the first time.
It should be loads of fun, ebullient and
dazzling musically, and a very sweet story
about pretension and people who dare to
be authentic.”
La Bohème (Feb 23–March 10): Arguably
the opera to end all operas, Bohème can
do a great deal to its audience without
even trying. Still, this particular Bohème
brings together the director who made

Early Music Guild: The Baltimore
Consort (Dec 14): The Baltimore six performing carols and dance tunes from the
British Isles, Germany, France, Spain, and
“the New World.”
Seattle Baroque Orchestra (Dec 29):
A holiday concert featuring trumpet virtuosa Kris Kwapis in a program of music
for trumpet, strings, and harpsichord by
Corelli, Handel, Vivaldi, and more.
Thalia Symphony Orchestra (Jan 27):
“Featuring new works and rediscovered
classics.”
Seattle Baroque Orchestra: Bach
Cantatas (Feb 2): “Three complete masterworks.”
Jennifer Koh: “Bach and Beyond” (Feb
7): The weak alliterative title can be for-

Robin Holcomb + Eric Barber (Dec 8):
His saxophone and electronics, her piano
and voice.
Music of John Cage by Jarrad Powell,
Jessika Kenney, and dancer Beth
Graczyk (Dec 14)
Fundraiser for publication of REAL
BOOK (Dec 15): Pianist Gust Burns performs from his recent collection of scores
made by erasing material from popular
jazz songs published in Chuck Sher’s The
New Real Book. Burns will play solo and
in a quartet with Paul Kikuchi, Carmen
Rothwell, and Jacob Zimmerman.
Phil Kline’s Unsilent Night (Dec 21):
If you are a closet sentimentalist with a
hankering for holiday caroling but get a
thrill from the new and the avant-garde,
the boom-box parade Unsilent Night is
for you. Composer Kline created it in New
York in 1992, and now it’s performed
around the world every December. You
bring a boom box or an MP3 player,
you’re provided with cassettes or files and
instructions, and you set out to make the
night unsilent. Time Out New York called
it “one of the loveliest communal newmusic experiences you’ll ever encounter,
and it’s never the same way twice.”
Danse Perdue (Dec 22): Butoh.
Greg Powers (Jan 4): Trombonist.
Vance Galloway (Jan 11): Last year, Dave
Segal described Galloway as “Seattle’s
Michelangelo of sound, tasked with the
important job of overseeing Decibel
Festival’s sonic technicalities (he used
to be Paul Allen’s right-ear man, too).
Galloway also wields a mean guitar,
whose emissions he usually feeds through
computer software programs and manipulates into rarefied drone poetry.” I think
we should go.
Seattle Rock Orchestra (Jan 12): The
coolest ensemble presents its newest
works for orchestra.
Amy Denio & Tiptons (Jan 18–19):
Mythunderstandings is an “oral history–
driven multimedia performance featuring
the Tiptons Sax Quartet breaking out all
of their instruments, in collaboration with
Coastal Salish storyteller and musician Paul
‘Che oke ten’ Wagner, visual artist Aric
Mayer, and direction by Lisa Halpern.”
Dennis Rea (Jan 25): Guitarist.
Neal Kosaly-Meyer (Jan 26): Composer.
Arun Chandra (Feb 1): The Evergreen
music professor described by Christopher
DeLaurenti as “maker of Wigout—nifty
sound software for glitch-heads.”
Seattle Improvised Music Festival (Feb
7–9): At 27 years old, this boasts of being
the longest-running festival of its kind
in North America. Performers come from
Seattle, Tokyo, Berlin, British Columbia,
Philadelphia, Portland, and elsewhere.
Neil Welch (Feb 15): Saxophonist.
David Hahn (Feb 16): Composer.
Phillip Greenlief (Feb 21): Jazz saxophonist.

HOW TO DEAL WITH A HANGOVER
HOW TO GET ALONG WITH
HOW TO BREAK UP WITH SOMEONE
PEOPLE WHO ARE DIFFERENT FROM YOU
PROFESSOR
DRUGS

HOW TO BE GAY

HOW TO SLEEP WITH YOUR

WHAT NO ONE ELSE WILL TELL YOU ABOUT

HOW TO TAKE A COMPLIMENT

HOW TO ACTUALLY DO LAUNDRY

SOME OF THAT JAZZ

What I’m Most Looking Forward to This Season by Charles Mudede

GUIDE TO COLLEGE

SUN 12/9
Scrape
Scrape is a 16-piece orchestra
(strings with a harp) that’s led by
Heather Bentley and dedicated
to the original works of two local
composers, Jim Knapp and Eyvind
Kang. Knapp has released several
CDs, the most recent of which,
Secular Breathing, draws inspiration from Coltrane (particularly
the Africa/Brass Sessions) when it
is bold and Charles Mingus when
it is mellow. All of the album’s
compositions are solid, and the
musicians flawless. Kang, a violinist and composer, is far more
experimental than Knapp, who
is anchored in the rich and inexhaustible jazz tradition. Kang’s
music, which is often ethereal,
drifts from one genre (folk,
Arabic, jazz) to another (classical,
Indian, cinema) like some erotic
mist. So this is the score tonight
at the Royal Room: pieces by talented composers, the big sound
of an orchestra, and the enchantments of a harp.
The Royal Room, 5000 Rainier Ave
S, 906-9920, theroyalroomseattle.
com, 7:30 pm

SAT 12/29
Bill Anschell
Bill Anschell, a Seattle native,
was educated at Oberlin College
and other institutions around
the country. This city has been
his home since 2002. He regularly performs at Tula’s and has
released numerous albums. He is a
local institution. Anschell’s instrument is, of course, the piano—my
favorite of all jazz instruments.
This is how his playing sounds to
my ears: The precision with which
Anschell strikes the keys produces
a sound that’s clean but not soulless. Often such precision would
come at the cost of something

THE REST OF
THAT JAZZ
Expressing Love
DIMITRIOU’S JAZZ ALLEY
I simply love the fact that you
enter this fancy club through
a dingy alley. It keeps the
“street” in jazz.
2033 Sixth Ave, 441-9729,
jazzalley.com
TUL A’S
I love the windows in Tula’s.
They look out onto a busy
street. You feel like you are
in a big city—and, in fact, you
are. Seattle has more than
600,000 souls.
2214 Second Ave, 443-4221,
tulas.com

JANUARY 4, 2013 7-10PM
3206 UTAH AVE S., SEATTLE

JUST S OF HANFORD, A RED DOOR
34

A&P: SEATTLE ART & PERFORMANCE

EGAN’S BALL ARD JAM
HOUSE
I neither love nor hate this
establishment, which has
a good reputation. Much
(indeed, if not all) of the talent
coming out of the jazz department at Cornish eventually
performs here. Sadly, the calendar on Egan’s website has no
information about the coming
winter months.

and drummer Brian Kirk. If you
are going to believe in anything,
believe in art—an ape did not
make the universe (of this you can
be sure), but apes certainly make
jazz and architecture.
Seattle First Baptist Church, 1111
Harvard Ave, 325-6051, seattle
firstbaptist.org, 6 pm, donation

THURS–SUN 2/7–10

Bill
Anschell
very important (the swing, the
magic, the poetry), but not with
Anschell. He is exact but not
brainy or robotic. He always hits
the warmest parts of the human
heart.
Tula’s, 2214 Second Ave, 4434221, tulas.com, $15, 7:30 pm

SUN 1/6
Seattle Jazz Vespers
Seattle Jazz Vespers is church
for those who believe in God,
who have doubts about God’s
existence, or who, like me, do not
believe in God and never will (the
universe is just the universe, life
is just life, death is just death). In
short, SJV is a service for art made
by and for the human animal.
During this event, two things
meet and play: the greatness of
America’s classical music (for the
ears) and the Gothic architecture
of the church (for the eyes). The
group playing this Sunday (SJV
happens every first Sunday night
of each month from October to
June) is Cocoa Martini, which
features the vocalists Kimberly
Reason, Kay Bailey, and Nadine
Shanti, with bassist Chuck Kistler

1707 NW Market St, 789-1621,
ballardjamhouse.com
THE TRIPLE DOOR
I deeply love the huge cave
that contains the main stage,
and the stars that appear
behind the main stage. I also
love the huge fish tank in the
bar.
216 Union St, 838-4333,
thetripledoor.com
THE ROYAL ROOM
I love watching Wayne Horvitz,
one of the owners of this
Columbia City jazz club and a
famous pianist, walk up and
down this joint. He is in his
element.
5000 Rainier Ave S, 906-9920,
theroyalroomseattle.com
SER AFINA
I love the food and elegant
atmosphere of this Eastlake
restaurant, which not only has
live jazz (trios and duos) on the
weekends but also DJs spinning
jazz records during the week.
2043 Eastlake Ave E, 323-0807,
serafinaseattle.com
VITO’S
I love the bartenders at this
joint, which often features
performances by one of my
favorite local pianists, Darrius
Willrich. Also, Vito’s happy

Juan de Marcos and the AfroCuban All Stars
Four words: Buena Vista Social
Club. This is all you need to know
about this show. Juan de Marcos
(a composer and bandleader),
along with Ry Cooder and other
musicians, reintroduced the erotic
beauty of classical Cuban jazz
to the United States and Europe
with the album Buena Vista Social
Club, which was released in 1997.
In the summer of 1999, the year
Wim Wenders’s documentary of
the same name entered the theaters, I found myself looking for
a party in Linz, Austria, at around
4 a.m. I finally found that party
after 5 a.m. It was in a loft on the
second floor of a building in the
west part of the small city. The
sun was brightening the sky as I
walked up the stairs and entered
the loft. People, however, were
no longer partying but sleeping,
snoring, and dreaming on couches
and the floor. But the bar was
still open—one man was serving
and another one drinking. The
stereo behind the bar happened
to be playing the first tune on
Buena Vista Social Club, “Chan
Chan.” I sat at the bar, ordered a
glass of wine, and, while drinking,
listened to the sex, sorrow, and
sun that slowly flowed out of the
speaker. Cubans know how to
love; Cubans know how to make
music.
Jazz Alley, 2033 Sixth Ave, 4419729, jazzalley.com, $35

hour is worth talking about.
927 Ninth Ave, 397-4053,
vitosseattle.com
HIROSHI’S
I can express neither love nor
hate for this establishment
because I have never eaten or
listened to jazz there. But I do
love the idea of sushi and jazz.
2501 Eastlake Ave E, 726-4966,
hiroshis.com
LUCID JA ZZ LOUNGE
I love it that the University
District has a jazz club. Jazz
is good music for young and
impressionable people.
5241 University Way NE, 4023042, lucidseattle.com
MONA’S
I have many lovely memories
of this establishment and the
street it’s on. Let’s go back
in time: jazz, wine, sidewalk,
trees, breeze, clouds, moon,
stars, and a lady’s lips.
6421 Latona Ave NE, 526-1188,
monasseattle.com
BARÇA
I love this place. I will always
love this place. When I die, I
hope to go to a place just like
it. (Jazz happens here every
Thursday.)
1510 11th Ave, 325-8263,
barcaseattle.com

A&P WINTER CALENDAR

READINGS & LECTURES
The Best of the Winter’s Lit Events by Paul Constant

SUN 12/9
Ahamefule J. Oluo & Lesley
Hazleton
Ahamefule J. Oluo is Town Hall’s Artist
in Residence, and Lesley Hazleton is
Town Hall’s Scholar in Residence. This
is their opportunity to show off, at the
end of their respective terms, what
they’ve learned. Oluo will perform
Now I’m Fine, which is a monologue/
stand-up/orchestral piece. Hazleton,
a Stranger Genius of literature, will
present a “multi-logue” performance
that combines Twitter, crowdsourcing,
and reactions to a season’s worth of
Town Hall events.
Town Hall, 7:30 pm, $5

Nick
Flynn

George
Michael Chabon
Saunders
Fri Sept 28 at Fred
Wildlife Refuge

Calvin Trillin
Calvin Trillin is a gifted writer, and his
humorous political poems from the
Nation have a devoted following. This
is a reading for Dogfight: The 2012
Presidential Campaign in Verse, which
includes some work written immediately after last month’s election. Books
don’t get much more immediate than
that.
Town Hall, 7:30 pm, $5

Kelly Froh

THURS 1/3

WED 1/16
David Wagoner
Besides being an excellent poet of the
classical tradition, David Wagoner is
a walking storehouse of Northwest
poetry history. He studied under
Theodore Roethke, the man who
Wagoner claims brought poetry,
single-handedly, to our little part of
the country. (Wagoner claims that
there wasn’t “another poet within 500
miles” when Roethke moved here.) But
now the scene has been invigorated
with dozens of poets, many of whom
learned directly from Wagoner in his
capacity as a professor at the University
of Washington. Here’s your chance to
learn from him, too.
Benaroya Hall, 7:30 pm, $15–$50

WED 1/23
Amy Wilentz
Amy Wilentz is the kind of journalist
they don’t make anymore. She goes
to unpleasant-for-American-women
locations all around the world—Haiti,
the Middle East, California—and brings
back stories that nobody else could
have gotten. She’s profiled world leaders and written a memoir and a novel,
besides. If you didn’t love her, you’d
probably have to hate her for being
so goddamned perfect all the time.
Her new book is titled Farewell Fred
Voodoo: A Letter from Haiti.
Town Hall, 7:30 pm, $15–$30

THURS 1/24
Lesley Hazleton
Folks don’t often show up twice in two

FRI 2/8
Strong Female Leads
Hugo House’s Literary Series is always
packed full of authors to look forward
to, but this is the one I’ve been waiting for all year long. Four fabulous
women—poets Patricia Smith and
Arlene Kim, local cartoonist Kelly Froh,
and local rapper Katie Kate—perform
new work based on the phrase “Strong
Female Leads.” The balance here is
exquisite: There’s something about
comics and poetry that makes them go
so well together (maybe it’s the fact
that some poems look kind of like a
comics page if you take away all the
drawings and just leave the contents
of the word balloons) and Katie Kate’s
star is on the rise.
Hugo House, 7:30 pm, $25

WED 2/13

MON 12/10

Jared Diamond
You know Jared Diamond from his
Pulitzer Prize–winning Guns, Germs,
and Steel. He’s been writing about civilization and evolution and humans for
decades, and his new book, The World
Until Yesterday, compares industrial
societies and “traditional” societies to
see what we can learn about ourselves.
Should we go native? Is the internet
really all it’s cracked up to be? Answers
are hazy; check back on January 3.
Town Hall, 7:30 pm, $5

coat.” It’s just such a great first sentence, full of imagery and rhythm and
momentum. Which is exactly what you
should expect from all of Saunders’s
work. He’ll be reading from his new
short-story collection. Expect brilliance,
humor, and maybe a new perspective
on something you’ve always taken for
granted.
Town Hall, 7:30 pm, $5

Nick Flynn
You probably know Flynn from his
memoir Another Bullshit Night in
Suck City, about his complicated relationship with his father, a homeless
alcoholic and frustrated writer. As
good as Bullshit Night was, Flynn has
written much more than that; he’s also
a playwright, a poet, and the author
of another memoir, The Ticking Is the
Bomb: A Memoir of Bewilderment, a
travel narrative about the repercussions of Abu Ghraib. Tonight, he’ll talk
about whatever the fuck he wants to
talk about.
Benaroya Hall, 7:30 pm, $15–$50

different listings in one of these here
A&P calendars, but there’s a damn
good reason for Hazleton’s reappearance: The Stranger Genius of literature
is debuting her newest, and possibly
most ambitious book, The First Muslim.
Yes, it’s a biography of Muhammad,
and despite Hazleton’s impeccable
credentials—she’s written brilliant
books about Jezebel and Mary’s historical role as the mother of Jesus, and
she’s an expert on just about every
religion there is—this book will probably gather a lot of prurient attention.

THE USUAL
SUSPECTS
ELLIOTT BAY BOOK
COMPANY
Readings and events (including
kids’ story time) happen practically
every day; also presents off-site
events with Seattle Public Library,
Town Hall, Benaroya Hall, and local
museums.
1521 10th Ave, 624-6600,
elliottbaybook.com
UNIVERSIT Y BOOK STORE
At nine locations, various kinds of
readings and events (including kidfriendly ones) practically every day.
4326 University Way NE, 634-3400,
ubookstore.com
TOWN HALL
Hosts Seattle Arts & Lectures series,
as well as a variety of other literary
events, once a month or more.
1119 Eighth Ave, 652-4255,
townhallseattle.org
RICHARD HUGO HOUSE
Nonprofit literary hub, providing
classes and venues for literary events

After tonight’s debut, Hazleton’s book
is sure to make a big splash.
Town Hall, 7:30 pm, $5

MON 2/4
George Saunders
Here’s the opening of George
Saunders’s story “Tenth of December”
as it appeared last October in the New
Yorker: “The pale boy with unfortunate Prince Valiant bangs and cublike
mannerisms hulked to the mudroom
closet and requisitioned Dad’s white

of all stripes, with open mics, plays,
group readings, and more several
times a week.
1634 11th Ave, 322-7030,
hugohouse.org
THIRD PL ACE BOOKS
Kids’ story time every Saturday
morning, “Science on Tap” in the
basement pub every last Monday
of the month, and other events on
occasion.
6504 20th Ave NE, 525-2347,
thirdplacebooks.com
SEATTLE MYSTERY
BOOKSHOP
A local mystery author reads
every month, coinciding with First
Thursday Art Walk, along with book
signings once or twice a month.
117 Cherry St, 587-5737,
seattlemystery.com
OPEN BOOKS
A poetry-dedicated bookstore with
readings at least once a week:
Thursday, Friday, or Saturday evenings, or Sunday afternoons.
2414 N 45th St, 633-0811,
openpoetrybooks.com
LEFT BANK BOOKS
Collectively owned nonprofit bookstore with an anarchist/leftist/radical
focus, hosts readings once or twice

THU 12/13 - SUN 12/16

THE FAMILY STONE
Delivering Tight Grooves
“Everyday People,” “Dance to the Music,”
“Sing a Simple Song” and More!

FRI 1/18 - SUN 1/20

RICKIE LEE JONES
TUE 1/22 - WED 1/23

DAVINA AND THE
VAGABONDS
A High-Energy Performance with Sounds
of Blues, Jazz, Dixieland, and Ragtime

THU 2/7 - SUN 2/10

JUAN DE MARCOS

& THE AFRO-CUBAN ALL STARS
The Man Behind the Buena Vista Social
Club and His Orchestra Return with
their Fiery Cuban Grooves

Phil Lapsley
Phone phreaking—the act of using
tools including a toy whistle found
in a box of cereal to get free longdistance phone calls—was a high art
in the days before the internet. Steve
Jobs and Steve Wozniak got their start
as phreakers before they founded a
hack-friendly computer company called
Apple, back in the day. Lapsley’s book
Exploding the Phone explains how
modern hacker culture got its start
from these burnouts and hippies who
tried to confound the hell out of Ma
Bell with an elaborate series of tricks.
Town Hall, 7:30 pm, $5

a month.
92 Pike St, 622-0195,
leftbankbooks.com
EAGLE HARBOR BOOK CO.
Readings of various sorts at least
once a week, mostly Thursday evenings and Sunday afternoons, often
both.
157 Winslow Way E, Bainbridge
Island, 842-5332, eagleharborbooks
.com
BOOK L ARDER
A community cookbook store that
offers classes, demos, and signings
several times a month.
4252 Fremont Ave N, 397-4271,
booklarder.com
BENAROYA HALL
Hosts Seattle Arts & Lectures one to
three times a month.
200 University St, 215-4747,
seattlesymphony.org/benaroya
FANTAGR APHICS
BOOKSTORE & GALLERY
Comic book store and art gallery
owned by the best damn funnybook publisher in the United States;
hosts readings and art shows once a
month or more.
1201 S Vale St, 658-0110,
fantagraphics.com

before the start of World
War II. Here’s the director’s
cut, featuring 20 minutes of
previously unseen footage,
and presented in a new digital restoration.
SIFF Film Center, Seattle
Center, 324-9996, siff.net

FILM

DEC 17
Swan Lake
The source material for
Darren Aronofsky’s Black
Swan (along with Carrie and
softcore lesbian porn) as performed by the Royal Ballet.
SIFF Film Center, Seattle
Center, 324-9996, siff.net

Festivals &
Series
DEC 6–9
The Festival of the
Archives
A four-day festival celebrating the work of film preservationists and archivists, via
screenings of a dozen freshly
restored films. On the roster:
To Kill a Mockingbird, Bye
Bye Birdie, Alien, All About
Eve, Lawrence of Arabia, Star
Trek 2: The Wrath of Khan,
Singin’ in the Rain, The
Terminator, The Parent Trap,
and more. Copresented by
SIFF and the Association of
Moving Image Archivists.
SIFF Cinema Uptown, 511
Queen Anne Ave N, 3249996, siff.net

DEC 12–20
The End of the World as
We Know It: Apocalypse
Film Festival
According to the trustworthy
Mayan calendar, December
21, 2012, brings the end of
the world. SIFF says good-bye
with “a big-screen celebration of all the methods by
which mankind is doomed,”
from deadly viruses (12
Monkeys) and zombies
(Dawn of the Dead and
Shaun of the Dead) to infertility (Children of Men) and
Kevin Costner (Waterworld).
SIFF Cinema Uptown, 511
Queen Anne Ave N, 3249996, siff.net

JAN 1–31
Central Cinema Sequel
Series
Is number two twice as nice,
or is there nothing like the
first time? Central Cinema
investigates by screening
a half-dozen legendary
sequels, including The
Godfather Part 2, Terminator
2, Evil Dead 2, Star Trek 2:
The Wrath of Khan, Airplane
2, and Ghostbusters 2.
Central Cinema, 1411 21st
Ave, 686-6684, centralcinema.com

Events
DEC 7–13
Mekong Hotel
From Apichatpong
Weerasethakul, the director
of the Palme d’Or–winning
Uncle Boonmee Who Can
Recall His Past Lives, comes
this portrait of a haunted
guesthouse situated on the
river separating Thailand
from Laos. (Screens with
Apichatpong’s short film
Sakda.)
Northwest Film Forum, 1515
12th Ave, 829-7863, nwfilm
forum.org

DEC 7–27
It’s a Wonderful Life
Frank Capra’s tear-jerking
holiday death trip returns
to the big screen. Merry
Christmas, you old Savings
and Loan!

DEC 11–13
Coast Modern
Back after a well-received
screening at the 2012 Local
Sightings festival, Michael

Bernard and Gavin Froome’s
artful documentary turns
the lens on “stunning
examples of modernist architecture, from Vancouver,
San Francisco, Los Angeles,
Portland, and Seattle, from
the early 20th century to
the second wave of postwar
America to today’s current
modernist renaissance.”
Northwest Film Forum, 1515
12th Ave, 829-7863, nwfilm
forum.org

DEC 13
An Evening with Auntie
Mame
If there’s one thing gay
men love, it’s either cock or
brunch. But Auntie Mame is
right up there, too—hence
Three Dollar Bill Cinema’s
holiday-time screening of the
gayly beloved 1958 film, in
which Rosalind Russell plays
a woman so fabulous, fearless, life-loving, and drunk
that she was immediately
and forever crowned Queen
of the Gays. Go see why with
your own eyes (it’s great).
Pacific Place, 600 Pine St,
threedollarbillcinema.org

DEC 14–20
The Tin Drum (director’s
cut)
Winner of the Palme d’Or
at Cannes and the Academy
Award for best foreign language film in 1979, Volker
Schlöndorff’s film adaptation of Günter Grass’s The
Tin Drum is a surreal, brainy
fantasia concerning a freaky
little kid in Germany just

JAN 4–10
Francine
Oscar-winner Melissa Leo
gets her indie grit on in this
quiet character study of
a small-town ex-con with
weird social skills and a love
of animals.
Northwest Film Forum, 1515
12th Ave, 829-7863, nwfilm
forum.org

JAN 11–17
Nana
Valerie Massadian’s directorial debut stars a 4-year-old
girl, who plays a 4-year-old
girl who’s been abandoned
by her mother on the outskirts of a pig farm. “There’s
not one word, one gesture—
nothing—that I imposed
on her,” said Massadian to
Interview. “We played.”
Northwest Film Forum, 1515
12th Ave, 829-7863, nwfilm
forum.org

JAN 18–24
Law in These Parts
Winner of the Sundance
world documentary jury
prize, this fascinating documentary tracks the development of military law in the
Israeli-occupied West Bank
and Gaza Strip, and largely
consists of interviews with
former Israeli Defense Force
prosecutors and judges talking about, well, you know.
In Hebrew legalese with subtitles, so fair warning.

JAN 24
Wonder Women!
The Untold Story
of American
Superheroines
The wild success of
Seattle’s GeekGirlCon
proved that the days of
girls sitting demurely in
the background of nerd
culture are over. Wonder
Women documents the
long road that women
have traveled in order to
find their own heroes,
interviewing a chorus
of awesome feminists
(Gloria Steinem and
Kathleen Hanna among
them) who critically
examine (and, when
appropriate, effusively
praise) the female hero’s
journey, from Wonder
Woman through Buffy
the Vampire Slayer.
It’s a fun, empowering
documentary about the
never-ending battle
against the rampant
forces of chauvinist assholism.
SIFF Cinema Uptown,
511 Queen Anne Ave N,
324-9996, siff.net

FEB 8–21
Tabu
From Portugal’s Miguel
Gomes comes this
acclaimed experimental
film that presents two
poetically interlaced
stories in sequence. The
first is set in contemporary Lisbon, the next in
a Portuguese colony in
Africa decades earlier.
“This is THE film of
2013,” crows the NWFF
program.
Northwest Film Forum,
1515 12th Ave, 8297863, nwfilmforum.org

Openings
DEC 7
North Sea Texas
Set in 1970s Belgium,
this Flemish drama concerns a 14-year-old boy
who falls in love with
his 17-year-old male
neighbor.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

DEC 14
Any Day Now
Winner of the best film
award at SIFF 2012,
Travis Fine’s basedon-a-true-story drama
follows a 1970s gay
couple (played by Alan
Cumming and Garrett
Dillahunt) struggling to
care for an abandoned
child with Down syndrome.
Harvard Exit, 807 E Roy
St, 781-5755, landmark
theatres.com

DEC 21
Not Fade Away
A band of friends in
1960s New Jersey strive
for rock ’n’ roll stardom
in the first feature film
from David Chase (aka
the man who made The
Sopranos).
Wide release
Hyde Park on Hudson
Bill Murray pretends
to be Franklin Delano
Roosevelt in this dramatic reenactment of
the time the Queen
of England’s parents
visited the White House
(distracting FDR from his
burgeoning affair with
his distant cousin).
Egyptian, 805 E Pine St,
781-5755, landmark
theatres.com
The Impossible
Naomi Watts and Ewan
McGregor star in this
Spanish drama about
one family’s experience of the 2004 Indian
Ocean tsunami.
Harvard Exit, 807 E Roy
St, 781-5755, landmark
theatres.com

DEC 25
Django Unchained
Written and directed by
Quentin Tarantino, this
nouveau western follows a freed slave as he
makes his way across the
country with a bounty
hunter. Starring Jamie
Foxx, Christoph Waltz,
Leonardo DiCaprio,
Kerry Washington, and
Samuel L. Jackson.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com
Promised Land
Gus Van Sant directs an
adaptation of a Dave
Eggers story about a battle over drilling rights in
a depressed rural town.
Starring Matt Damon
and John Krasinski (who
also teamed up to write
the screenplay).
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

on an elderly couple—
both of them retired
music teachers—who
must deal with the
effects of a stroke.
Seven Gables, 911 NE
50th St, 781-5755,
landmarktheatres.com

FEB 1
Oscar Nominated
Short Films
All of 2012’s Academy
Award–nominated short
films, presented in two
programs: live action
and animated.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

FEB 8
56 Up
Michael Apted’s documentary series—which
has profiled 14 British
children at seven-year
internals since 1964—continues, with the “kids”
now in their mid-50s.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

FEB 15
Happy People: A Year
in the Taiga
Directed by Dmitry
Vasyukov and produced
by Werner Herzog, this
documentary follows
the lives of people living
along the Yenisei River
in Siberian Taiga.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

FEB 22
West of Memphis
Following the accidental
masterpiece that is the
eight-hour Paradise Lost
trilogy, West of Memphis
is another documentary
about the West Memphis
Three, the trio of weird
kids in Arkansas who
were spuriously sentenced
to life in prison for the
alleged “satanic cult”
murder of three young
boys. And it’s great, condensing the vast story into
a tight hour, and then
devoting the final 90 minutes to stuff we haven’t
seen before, including a
galling alternate theory
of the crime and glorious footage of the WM3
upon their 2011 release.
Egyptian, 805 E Pine St,
781-5755, landmark
theatres.com
John Dies at the End
A big-screen adaptation
of David Wong’s comedic horror novel/online
series about a new street
drug that hurtles users
through time.
Varsity, 4329 University
Way NE, 781-5755,
landmarktheatres.com

BLUES AT THE
BLUES AT THE
CROSSROADS
TWO:
CROSSROADS
MUDDY
AND THE WOLFTWO:

MARC COHN
MARC COHN

ILLSLEY BALL NORDSTROM RECITAL HALL

Cohn combines the precision of a brilliant
ILLSLEY BALL
RECITAL
HALL soul man.
tunesmith
withNORDSTROM
the passion
of a great
Cohn
combines
the
precision
of a brilliant
TICKETS: $43
tunesmith with the passion of a great soul man.
M a rc C o h n

get your tickets online now
seattleartmuseum.org/elles
get your tickets online now
seattleartmuseum.org/elles
Elles: Women Artists from the Centre Pompidou, Paris is organized by the Seattle Art Museum
and the Centre Pompidou, Paris. The Seattle presentation of this exhibition is made possible
with critical funding provided by SAM’s Fund for Special Exhibitions.